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ANDREA  DELLA  ROBBIA  AND  HIS  ATELIER 


Princeton  Monographs  in  Art  and  Archaeology  XI 


ANDREA  DELLA  ROBBIA 

AND  HIS  ATELIER 


BY 


ALLAN  MARQUAND 

PROFESSOR  OF  ART  AND  ARCHAEOLOGY  IN 
PRINCETON  UNIVERSITY 


VOLUME  I 


PRINCETON  UNIVERSITY  PRESS 
PRINCETON 

LONDON:  HUMPHREY  MILFORD 
OXFORD  UNIVERSITY  PRESS 
1922 


Copyright,  1922,  by 
Princeton  University  Press 

Printed  by  Princeton  University  Press 
Princeton,  N.  J.,  U.  S.  A. 
Published,  1922 


THE  GETTY  CENTER 
UBRARv 


To  M.  E.  M. 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/andreadellarobbi01marq 


PREFACE 


After  the  monograph  on  Luca  della  Robbia  one  naturally  expects  a mono- 
graph on  Andrea  della  Robbia.  Andrea  was  Luca's  nephew,  received  his 
art  education  from  his  uncle,  and  in  the  field  of  glazed  terra-cotta  was  his 
natural  successor.  Had  Andrea,  like  1ns  uncle,  remained  a bachelor  or  had 
his  sons  engaged  in  diverse  professional  lines,  my  task  would  have  been 
an  easier  one.  But  Andrea  had  twelve  children  and  of  his  sons  five  fol- 
lowed their  father's  profession.  The  output  of  Andrea's  atelier  was  enor- 
mous and  it  is  no  easy  matter  to  distinguish  the  individual  style  of  each  of 
these  five  sons.  Through  the  circumstance  that  two  joined  the  Dominican 
order  of  S.  Marco  and  carried  the  art  of  their  father  southward  to  the 
Marches,  and  two  followed  Franqois  I to  France,  the  individuality  of  Gio- 
vanni, who  remained  in  Florence,  is  easier  to  define.  This  I have  attempted 
in  a special  monograph.  Similarly  the  characteristics  of  Benedetto  and  of 
Santi  Buglioni  were  not  difficult  to  determine  and  have  been  set  forth  in 
a separate  catalogue  of  their  works.  The  comparative  scarcity  of  docu- 
ments and  dated  monuments  led  me  to  consider  separately  the  heraldic  de- 
vices in  Robbia  ware,  many  of  which  are  dated.  To  a certain  extent  this 
helped  to  bring  order  into  chaos.  The  little  that  I have  been  able  to  gather 
concerning  the  works  of  Fra  Mattia,  Fra  Ambrogio,  Luca,  and  Girolamo 
della  Robbia  I reserve  for  a separate  monograph.  This  leaves  a large 
mass  of  material  of  which  I have  attempted  to  treat  in  this  volume.  From 
the  very  outset  of  his  career  Andrea's  activity  was  so  great  that  he  could 
not  supply  the  demand  without  considerable  assistance.  It  is  not  always 
possible  to  distinguish  Andrea’s  personal  handiwork  from  the  work  done 
under  his  supervision  and  in  his  atelier,  and  I do  not  expect  my  judgments 
to  receive  universal  acceptance.  I claim  only  to  have  made  an  attempt  to 
present  an  orderly  catalogue  of  the  monuments  which  issued  from  the 
workshop  of  Andrea.  In  this  work  I have  had  the  good  fortune  to  have 
the  cooperation  of  my  friend  Mr.  Rufus  G.  Mather,  who  has  revised  all 
the  known  documents  and  added  many  here  published  for  the  first  time. 


CONTENTS 


I.  Introduction  Voi. 

II.  Catalogue  of  Monuments Voi. 

III.  Bibliography  and  Index Voi.  II 


I,  page  xi 
I,  page  i 
, page  265 


I.  INTRODUCTION 


i.  Biographical. — The  genealogical  tables  A and  B were  prepared  by 
Mr.  Rufus  G.  Mather.  They  follow,  in  the  main,  the  tables  published  by 
Milanesi,  Cavallucci  and  Molinier,  and  Miss  Cruttwell,  with  such  correc- 
tions and  additions  as  a revision  of  Robbia  baptismal,  death,  and  tax  records 
enabled  us  to  make.  Table  A will  be  useful  as  displaying  the  family  con- 
nections of  Luca  della  Robbia,  while  Table  B records  the  descendants  of 
Andrea  della  Robbia.  It  is  the  latter  to  which  readers  of  this  volume  will 
most  frequently  refer.  The  birthdays  of  Andrea  and  his  children  are 
gathered  from  the  baptismal  records  with  greater  accuracy  than  from  the 
more  variable  tax  records.  Document  i preserves  for  us  the  birthday  of 
Andrea,  while  Documents  2-19  give  those  of  his  children,  of  Giovanni's 
children,  and  of  Luca,  the  litterateur.  It  would  be  useless  for  our  purpose  to 
search  out  and  publish  the  baptismal  records  of  all  of  Andrea’s  descendants. 
The  marriage  records  (Docs.  20-25)  are  less  complete.  They  are  taken 
from  XVII  century  Mss.,  which,  however,  were  copied  from  original 
records.  They  give  us  the  names  of  the  married  couples,  and  usually  the 
amount  of  the  dowries.  The  death  records  (Docs.  26-30),  preserved  some- 
times in  the  Libro  dei  Morti  of  the  Ufficio  delle  Grascia  and  sometimes  in 
the  records  of  the  guilds,  are  also  incomplete.  But  we  are  able  to  publish 
the  records  for  Andrea’s  father  and  mother,  for  himself  and  his  brother 
Simone  and  his  son  Piero.  Mr.  Mather  has  also  brought  to  light  (Docs.  31- 
32)  interesting  information  regarding  two  daughters  of  Andrea,  Caterina 
and  Margherita.  Both  became  sisters  in  the  Dominican  convent  of  S.  Lucia, 
Caterina  in  1496  and  Margherita  in  1502.  Caterina,  who  became  Suora 
Speranza,  was  the  oldest  of  all  the  nuns,  and  was  known  as  the  Madre  del 
Monasterio.  She  lived  in  seclusion  there  for  69  years,  having  entered  at 
16  years  of  age.  Her  sister  Margherita  lived  as  a nun  in  the  same  convent 
for  62  years  and  was  known  as  Suora  Agnolina.  Provision  was  made  for 
their  support  by  Andrea  and  his  sons  (Docs.  33-34,  67). 

Andrea’s  ancestors  were  more  or  less  prosperous  farmers — his  grand- 
father Simone  in  1427  returns  for  taxes  some  nineteen  pieces  of  property 
(Doc.  55).  It  was  Simone’s  removal  to  Florence  that  determined  the 
artistic  careers  of  his  son  Luca,  and  later  of  his  grandson  Andrea. 
He  rented  a house  in  the  Via  Sangiglio  (S.  Egidio)  in  the  district  of  S. 
Piero  Maggiore,  and  it  was  here  that  Andrea  was  born  on  October  10th, 


xi 


INTRODUCTION 


xii 

1435.  Here  he  lived  until  1446  when  his  father  Marco  and  uncle  Luca 
took  a more  commodious  house  with  a garden  in  the  Via  Guelfa  (Docs. 
49-5°).  It  was  in  this  house  that  much  of  his  work,  and  that  of  his  sons, 
was  produced.  Andrea  received  the  best  of  training  as  a sculptor  under  his 
uncle  Luca  and  was  matriculated  in  the  Arte  dei  Maestri  di  Pietra  e di 
Legnami  in  1458  (Doc.  35).  His  accounts  with  that  guild  for  1466-1524 
show  that  he  was  several  times  Syndic  and  many  times  a member  of  the 
Council  (Docs.  40-46). 

He  was  an  ardent  follower  of  Savonarola  and  took  part  in  the  fight  at 
S.  Marco  in  his  defense.  For  this  he,  with  some  three  hundred  others,  was 
“admonished'’  and  for  two  years  deprived  of  the  right  to  hold  public  office 
(Docs.  36,  36a).  Several  of  his  sons  shared  in  his  devotion  to  Savonarola; 
Francesco  became  Fra  Ambrogio  in  S.  Marco  in  1495  and  Marco  became 
Fra  Mattia  in  1496.  His  son  Luca  became  a lay  brother  in  the  same  mon- 
astery. Luca  and  his  brother  Giovanni  and  Girolamo  are  named  as  eligible 
to  the  Grand  Council  of  the  city  of  Florence  in  1525  (Docs.  38-39). 
Andrea  appears  to  have  worked  in  Florence  for  the  greater  part  of  his  life, 
and  from  his  atelier  in  that  city  his  works  were  transported  to  remote 
quarters  of  Italy.  In  1506  he  obtained  a passport  to  go  to  Rome  (Doc.  37), 
apparently  a short  visit  only,  as  the  Viterbo  lunettes  were  sent  from 
Florence  in  1507-1509. 

The  accounts  of  the  Campagnia  di  S.  Luca  or  l’Arte  delle  Pittura  for 
1472  show  that  he  was  a member  and  Camerlingo  also  of  that  guild  (Docs. 
47-49)- 

In  his  will,  dated  Feb.  19,  1471,  Luca  left  his  half  interest  in  his  house 
in  the  Via  Guelfa  to  his  nephew  Simone  di  Marco.  Simone  lived  and 
worked  here  with  his  brother  Andrea  for  a while,  but  both  having  families, 
Simone  on  July  2,  1485,  surrendered  his  rights  to  the  Capitolo  and  hence- 
forth the  house  was  rented  to  Andrea  and  his  male  descendants  (Doc.  50). 
Hence  the  debits  and  credits  in  the  books  of  the  Capitolo  from  1475-1489 
stand  in  the  name  of  Simone  or  of  Andrea  (Doc.  51),  but  after  Andrea’s 
death  (Aug.  4,  1525)  the  accounts  (1531-1553)  though  standing  in  his 
name  concern  his  heirs  at  law  ( Docs.  52-54). 

The  tax  returns  also  furnish  us  with  material  useful  for  biographical 
purposes.  These  began  to  be  recorded  in  1427.  Andrea's  grandfather, 
Simone  di  Marco,  made  bis  return  in  that  year  and  it  is  preserved  to  us 
(Doc.  55).  Fie  owned  various  pieces  of  property  in  the  vicinity  of  Flor- 
ence, and  in  that  city  itself  in  the  district  of  S.  Piero  Maggiore  he  owned 
(or  rented  on  long  lease)  a house  on  the  Via  S.  Giglio  (S.  Egidio)  with 
its  “sale,  palchi,  camere,  terreno,  corte,  cucina  e volta,  e pozo,’’  where  he 
lived  with  his  wife  Margherita  and  their  sons  Marco,  Ser  Giovanni  and 
Luca.  Documents  56-57  give  Simone’s  returns  for  1430  and  1433;  D°cu- 


INTRODUCTION 


xiii 

ments  58,  61,  the  returns  made  by  Andrea’s  father  Marco  di  Simone,  and 
Document  62  a return  for  the  children  and  heirs  of  Marco  di  Simone. 

Andrea’s  personal  tax  returns  for  the  year  1470  (Doc.  63)  reports  sev- 
eral pieces  of  property  owned  by  him  in  common  with  his  uncle  Luca  and 
his  brother  Simone.  His  age  is  given  as  33  (he  was  actually  35),  that  of 
his  wife  21.  The  ages  of  his  children  Antonia,  Marco  and  Giovanni,  given 
as  3,  2,  and  1,  seem  to  be  correct.  By  1481  his  tax  return  (Doc.  64) 
shows  an  increase  in  property  and  his  family  of  three  children  now  increased 
to  seven  by  the  addition  of  Paolo,  Lisabetta,  Luca,  and  Francesco,  whose 
ages  are  given  as  8,  7,  6,  and  4.  According  to  the  baptismal  records  only 
those  of  the  two  younger  are  correct.  It  may  also  be  noted  that  600  florins 
are  set  aside  as  a dowry  for  the  eldest  daughter  Antonia,  whereas  Lisabetta 
is  recorded  as  having  no  dowry.  This  return  must  have  been  made  in 
August,  1480,  since  it  records  a child  as  expected  at  any  day,  and  we  know 
from  the  baptismal  records  that  the  next  child  Caterina  was  born  Aug.  19, 
1480.  Andrea’s  next  tax  return  (Doc.  65)  known  as  that  of  1498,  was 
made  out,  according  to  Mr.  Mather,  in  April  1495.  He  has  reduced  his 
possessions  by  the  sale  of  five  pieces  of  property,  but  enlarged  his  holdings 
on  the  Via  Guelfa  by  the  purchase  of  an  adjoining  house  and  grounds.  The 
increase  of  his  business  as  well  as  of  his  family  may  have  rendered  this 
necessary.  In  addition  to  the  seven  children,  mentioned  already,  five  more, 
Caterina,  Piero,  Margherita,  Girolamo,  and  Maria  were  added  during  the 
years  1480-1492. 

The  business  of  Andrea  della  Robbia,  mentioned  in  his  uncle  Luca’s 
will  as  very  profitable,  naturally  attracted  the  services  of  his  sons.  Giovanni, 
Luca,  and  Girolamo  seemed  to  have  worked  in  the  house  in  the  Via  Guelfa 
until  the  latter  two  went  to  France;  while  Marco  and  Francesco,  who  en- 
tered the  Dominican  monastery  of  S.  Marco,  where  they  were  known  as 
Fra  Mattia  and  Fra  Ambrogio,  worked  with  their  father  and  brothers 
before  establishing  furnaces  of  their  own  in  the  Marches.  Andrea’s 
brothers  seem  also  to  have  had  some  sort  of  a partnership  in  the  business, 
the  firm  being  known  in  1491  as  Andrea  della  Robbia  e fratelli  (see  p.  1 12, 
Doc.  5).  His  brother  Simone  received  payment  for  many  of  the  medallions 
made  for  the  Hospital  of  S.  Paolo. 

On  the  4th  of  September,  1522,  Andrea  made  his  will  (Doc.  67)  in  the 
presence  of  seven  Brothers  of  S.  Marco.  He  makes  provision  for  the 
payment  of  the  registration  fee,  for  masses  in  S.  Marco  for  his  daughters, 
his  wife  and  his  sons  Giovanni,  Luca,  and  Girolamo.  What  interests  us 
chiefly  in  this  will  is  the  disposition  made  of  his  furnace  and  mixing 
troughs  in  a room  opposite  the  kitchen  and  known  as  the  anticucina  in  the 
house  on  the  Via  Guelfa.  Here  it  was  that  Andrea  had  made  his  many 
monuments.  The  will  assigned  it  at  first  to  Girolamo,  but  this  legacy  was 


XIV 


INTRODUCTION 


apparently  not  accepted  as  satisfactory  to  the  other  sons,  for  in  the  Codicil 
(Doc.  68)  other  arrangements  are  made  and  the  anticucina  is  allotted  to 
Giovanni.  This  probably  failed  to  satisfy  Luca  and  Girolamo  and  accounts 
for  the  Revocation  of  the  will  on  June  3,  1524  (Doc.  69).  Andrea  then 
died  intestate.  On  July  2,  1529,  Giovanni  applied  for  his  third  of  his 
father's  estate  (Doc.  70).  Luca  and  Girolamo  by  this  time  had  gone  to 
France  to  work  for  Francois  I,  and  the  use  of  the  furnace  in  the  Via  Guelfa 
fell  into  Giovanni’s  hands.  However,  he  did  not  long  enjoy  its  use,  since 
death  overtook  him  before  the  close  of  1529  or  in  the  early  months  of  1530. 

2.  Monuments  and  Style. — In  the  classification  of  the  monuments  at- 
tributed to  Andrea  della  Robbia  we  are  confronted  with  many  a difficult 
problem.  Cavallucci  once  told  me  that  unless  he  had  a document  to  guide 
him  he  was  at  sea  in  the  attribution  of  Robbia  monuments.  Well  he  might 
be,  for  their  number  is  legion  and  the  style  exceedingly  variable.  But  the 
documents  themselves  are  uncertain  guides.  In  biographical  matters  names 
and  dates  are  often  inaccurate  and  a keen  critical  sense  is  required  to  ascer- 
tain what  may  be  accepted  as  historical  fact  and  what  as  ignorant  fiction. 
Even  when  payments  are  recorded  for  specific  monuments,  the  documents 
often  lead  us  astray.  For  example,  the  records  of  the  Compagnia  di  San 
Frediano  show  payments  made  in  1494  to  Luca  della  Robbia  for  a frieze 
made  for  their  chapel  in  San  Frediano;  and  in  1495  to  Andrea  della  Robbia 
for  the  same  frieze.  This  probably  means  that  the  account  stood  in  the 
name  of  the  elder  Luca  as  late  as  1494,  although  he  died  in  February 
1482  (old  style,  1481),  inasmuch  as  Andrea  in  these  books  is  recorded  as 
Andrea  di  Luca  della  Robbia.  It  is  possible,  however,  that  the  first  pay- 
ments were  made  to  Luca  di  Andrea  della  Robbia,  one  of  Andrea’s  sons 
who  worked  in  his  atelier.  In  the  accounts  of  S.  Alaria  delle  Carceri  for 
1491  payments  for  the  medallions  of  the  Four  Evangelists  were  made 
usually  to  Andrea  di  Marco  della  Robbia,  but  once  to  Andrea  di  Alarco  della 
Robbia  e fratelli.  The  output  of  the  Robbia  establishment  during  Andrea’s 
lifetime  was  so  enormous  that  it  is  particularly  difficult  to  isolate  certain 
monuments  as  Andrea's  personal  handiwork  and  to  partition  the  rest 
amongst  his  brothers  and  sons. 

Andrea’s  brothers  may  be  disregarded,  as  they  played  an  insignificant 
part  in  his  atelier,  but  his  sons  were  more  individual.  Giovanni  developed 
a marked  style  of  his  own  and  has  been  considered  in  a separate  volume  of 
the  Princeton  Monographs.  Luca,  Girolamo,  Fra  Mattia,  and  Era  Am- 
brogio are  more  difficult  to  differentiate,  although  some  attempt  will  be 
made  to  distinguish  them  in  a forthcoming  volume  in  this  series.  There 
remain  a large  number  of  monuments  in  which  Andrea’s  directing  agency  is 
manifest,  but  his  personal  share  was  more  or  less  limited.  I have  accord- 


INTRODUCTION 


xv 


ingly  divided  this  volume  into  two  parts  entitled  : ( I ) Andrea  della  Robbia, 
and  (2)  Atelier  of  Andrea  della  Robbia.  I have  not  hesitated  occasionally 
to  disregard  the  documents,  and  to  assign  to  Andrea's  atelier  various  monu- 
ments which  show  little  or  no  trace  of  his  personal  handiwork,  and  on  the 
other  hand  to  attribute  to  him  many  important  works  for  which  we  have 
no  written  documents.  When  the  works  of  all  of  Andrea's  sons  are  more 
accurately  understood  some  of  the  monuments  here  classed  in  the  Atelier 
of  Andrea  may  be  withdrawn  and  attributed  to  a specific  author,  but  it 
would  be  a mistake  to  do  so  at  the  present  time.  Whether  to  assign  a 
monument  to  Andrea  himself  or  to  his  atelier  has  been  in  many  cases 
more  or  less  arbitrary,  but  on  the  whole  an  attempt  to  isolate  the  personal 
works  of  a master  from  those  of  his  workshop,  in  which  his  personal  share 
was  more  or  less  limited,  cannot  be  wholly  without  value. 

The  classification  of  the  monuments  of  Andrea  or  his  atelier  into  decades 
has  not  been  always  an  easy  matter,  nor  has  it  been  altogether  arbitrary. 
A large  public  would  doubtless  be  grateful  to  know  to  what  decade  the 
Innocenti  Bambini  are  to  be  assigned.  Some  day  we  may  have  more  definite 
knowledge  on  this  question,  as  a Florentine  savant  is  said  to  have  in  his 
keeping  the  document  which  would  solve  that  problem.  But  so  long  as  he 
jealously  guards  his  information  the  public  can  only  be  served  with  unsub- 
stantiated guesses.  For  the  monuments  as  a series  these  guesses  are  not 
wholly  unsubstantiated.  A careful  perusal  of  the  volume  will  show  that 
in  most  cases  historical  considerations  govern  the  classification  by  decades. 

The  following  summary  of  dated  or  documented  monuments  will  serve 
in  general  as  a justification  for  the  chronological  position  assigned  to  those 
monuments  for  which  dates  and  documents  are  lacking. 

1470-1480. 

1475.  Buondelmonte  stemma  (Fig.  134). 

1475.  Madonna  of  the  Architects  (Fig.  19).  Documented. 

1478.  Della  Stufa  stemma  (Fig.  37).  Dated. 

1479.  Brizi  Adoration  (Fig.  41).  Chapel  dated. 

Tornabuoni  stemma  (Fig.  155).  Dated. 

1480-1490. 

1481.  Two  Angels  for  the  Duomo,  Florence.  (Documented). 

1484.  Altarpieces  at  Montepulciano  (Fig.  51).  Documented. 

Salviati  stemma  (Fig.  158).  Dated. 

S.  Pietro  Martire.  Documented. 

1487.  Arte  della  Lana  stemma  (Fig.  60).  Documented. 

1488.  Painted  lunette  (Fig.  17$).  Documented. 

1489.  Madonna  and  Angels  (Fig.  i^oi).  Documented. 

Prato  Cathedral  lunette  (Fig. §6).  Dated  and  documented. 

Arte  dei  Giudici  e Notai  lunette.  Documented. 


XVI 


INTRODUCTION 


1490-1500. 

1490.  Davanzati  stemma  (Fig.  76).  Dated. 

1491.  Wooden  Crucifix.  Documented. 

Prato  Evangelists  (Fig.  77-80).  Documented. 

1492.  Prato  Frieze  (Fig.  81-82).  Documented. 

Trotti  stemma  (Fig.  85).  Documented. 

1494.  Bivigliano  altarpiece  (Fig.  189).  Documented. 

S.  Frediano  frieze.  Documented. 

1496.  S.  Zenobi  lunette  (Fig.  226).  Documented. 

1498.  S.  Paolo  medallions  (Fig.  98-106).  Documented. 

1499.  Guasconi  stemma  (Fig.  109).  Dated. 

1500-1510. 

1502.  Foiano  altarpiece  (Fig.  259).  Dated. 

1505.  Pistoia  lunette  and  vault  (Figs  123-124).  Documented. 

1507.  Ginori  stemma  (Fig.  279).  Dated. 

1507-8.  Viterbo,  La  Quercia  lunettes  (Figs.  125-7).  Documented. 

1507.  Montalcino  altarpiece  (Fig.  283).  Dated. 

1509.  Viterbo,  Fiorentini  lunette  (Fig.  290).  Documented. 

1510-1520. 

1510.  Almadianus  bust  (Fig.  128).  Documented. 

1513.  Certosa,  Christ  and  S.  Lorenzo.  Documented. 

i5i3-’20.  Bibbiena  altarpieces  (Figs.  292-293).  Dated  within  limits. 

1514.  Pleads,  for  Guido  Magalotti.  Documented. 

Pieve  S.  Stefano  altarpiece  (Fig.  299).  Dated. 

1515.  Pian  di  Mugnone  Nativity  (Fig.  300).  Documented. 

1517-1518.  S.  Frediano  Resurrection.  Documented. 

1518.  Empoli,  Madonna  (Fig.  302).  Dated. 

1522.  Stemma  of  Guido  Magalotti.  Documented. 

This  list  is  presented  as  of  provisional  value  and  open  to  criticism,  but 
nevertheless  will  be  helpful  in  the  final  establishment  of  a chronological 
series  of  the  works  of  Andrea  and  his  atelier.  The  character  of  the  monu- 
ments made  by  Andrea  and  his  atelier  deserves  a passing  notice.  His  uncle 
Luca  della  Robbia  lived  at  a time  when  the  architects,  and  especially  Brunel- 
leschi, led  the  artistic  activities  of  Florence.  Sculpture  was  needed  for  the 
adornment  of  buildings.  Andrea,  however,  lived  when  the  sculptors  and 
painters  had  secured  the  ascendancy.  The  list  of  his  monuments  includes 
many  large  altarpieces,  innumerable  shrines  and  ciboria,  and  a number  of 
portrait  or  ideal  busts.  During  his  lifetime  the  civic  buildings  of  Tuscany 
were  literally  covered  with  heraldic  memorials  made  by  the  Robbias  to  com- 
memorate those  who  had  held  various  civic  offices.  The  activity  of 
Andrea’s  atelier  must  have  been  extraordinary,  so  great  is  the  quantity  of 
monuments  that  issued  from  the  furnace  of  the  house  in  the  Via  Guelfa. 


B 

GENEALOGICAL  TREE  OF  THE  DELLA  ROBBIA  FAMILY 


1 

Antonia 

Marco 

1 

GIOVANNI 

Paolo,  soldier 

b.  21  Jan.  146(1  (F.  S) 

b.  6 Apr.  1468 

b.  19  May  1469 

b.  2 Nov.  1470 

d. 

d.  after  1534 

d.  14  July-24  Mar.  1529  (F.  S. 

d. 

married  in  14S5 

Became  Fra 

Matric.  Speziali 

Girolamo  di  Michele 

Mattia  in 

m 1525 

di  Gio.  Mascalzone 

San  Marco 
in  1496 

married  in  1502 
Tommasa  di  Carlo 
di  Geri  Bartoli 
b.  d. 

Marco 

b.  19  Dec.  1503 
d.* 


Filippo,  painter 

Lucantonio 

Lexandra 

b.  11  Apr.  1505 

b.  14  Apr.  1506 

b.  21  Oct.  1508 

d. 

d* 

d.  1570 

married 

married  in  1528 
Lorenzo  di  Lionardo 
di  Tommaso  Altoviti 

1 

Simone 

b.  26  Apr.  1511 
d* 


* The  records  give  no  Christian 
names  but  state  merely  that 
one  son  died  Aug.  25,  1525 
and  two  sons  in  1527. 


Michele 

1 

Vanni 

Marco 

1 

Simone 

Marco 

ANDREA 

b.  20  Oct.  1435  d.  4 Aug.  1525 
Matric.  Arte  dei  Maestri  di 
Pietra  c Legname,  1458. 

Married  6 Jan,  1464  (Florentine  Style) 


Giovanna  di  Piero  di  Ser 
Lorenzo  Paoli 
b.  1449  j d. 

Lisabetta 

lu1:a 

' r 

Francesco 

1 

Caterina 

1 

Piero 

1 

Margherita 

1 

GIROLAMO 

1 

Maria 

b.  18  Sept.  1473 

b.  25  Aug.  1475 

b.  23  July  147 7 

b.  19  Aug.  1480 

b.  13  Apr.  1483 

b.  23  May  i486 

b.  9 

Mar.  1487  (F.S.)  b.  1 Scpt.  1492 

d. 

d.  in  France  1550 

d.  1527-1528 

d.  7 Apr.  1565 

d.  1 Jan  1492  (F.S.) 

d.  22  May  1564 

d.  3 Aug.  1566 

d. 

at  Montesanto 

Became  Suora 

Became  Suora 

France 

married  in  1513  or  1516 

Became  Fra 

Speranza  in 

Agnolina  in 

married  in  1543 

Tommaso  di  Marco 

Ambrogio  in 

Monastero  di 

Monastero  di 

Luisa  di  Piero 

Fantini.  He  died 

| 

Santa  Lucia 

Santa  Lucia 

Mattei 

betw.  Sept.  14,  1^22  and 

in  1495 

dei  Domenicani 

dei  Domenicani 

b. 

d. 

Feb.  18,  1523,  sec  An- 

4 Sept.  1522 

in  1528 

in  1496 

in  1502 

drea’s  Will 

Agnoletta  di 

Bartolommea  di 

Piero  di  Paolo 

Leonardo  Altoviti 

Falconieri 

b. 

b.  23  June  1501 

d. 

* 



- . 

d.  Oct.  1527 

| 

1 

Pier  Francesco 

1 . 
Andre 

1. 

Marie 

1 

Jacques 

Madaleine 

Seigneur  di  Poteaux  b.  d. 

b.  d.  1600  married 

married  Franqois  Bontemps 

FranQoisc  de  Sieur  de  Orrano 

Robert  Choart 

1 


Costanza 

1 

Girolamo 

Carlo 

b.  d. 

b.  d.  1566 

b.  1576 

b.  1582 

married 

d.  1664 

d.  1625 

Tomaso  di  Leonardo  Altoviti 
L’Arte  1918,  209 

A scanio  di  Mari 
Seigneur  de  Beaulieu 

married  Antoinette  Grenier 
Seigneur  de  Grandehamps  et 

married  Diane  Picart 

1 

(2)  married  in  1550 
Mérédic  de  Donon 
* Sieur  de  la  Chàtre 

de  la  Grange  ali  Roi 

1 

Guido 
b.  1620 
d.  1625 

1 

Francesca 
b.  d. 

married 

Charles  le  Maistre 
Seigneur  de  Grandehamps 

* Zibaldone  del  Migliore 
gives  husband's  name 
as  Modenco  d’Onorio 
da  Parigi 

Libro  del  Monte  gives 
name  as  Meredico 
d’Onorio 


A 


GEN  E A LOGICAL  TREE  OF  THE  DELLA  ROBBIA  FAMILY 


Michele 

, _ i 

T ^ „ 1 . I 

Landò  Vanni  Lapo 

I Matric.  Spez"  1320 


b. 


b. 


1 _ 

Piero 

Marco  Michele 

b*  I d.  1382  b.  d.  before  1351 

Matric.  Spcz1 1 1320 

TI 

Domenico 

Filippo 
d.  1400 
married 
in  1381 
Maddalena  di 
Giunta  Laclii 

d.  27  Dec.  1439 

Niccolosa 
b.  d.  1439 

married 

Giuliano  di  Paolo 
pplo  S.  Michele 
Visdomini 

Simone  Jacopo 

b.  1343  d.  after  1433  Arte  della  Lana 

married  1383-1384  1389 

Margherita 

b.  1362  ^d.  after  1433 

Mante 

married 

Matteo  Sminino 
died  1400 

Marco 

b.  1385  d.  17  Dec.  1448 
married 

1 

Ser  Giovanni 

b.  1394  d.  1446-1451 

Not.  c Cancelliere  Fior.  1432 
married 

1 

LUCA 

b.  1399-1400  d.  23  Feb.  14S1 
Arte  degli  Spez" 

Arte  dei  M.di  P.  e L. 

. 1 

in  1429 
Antonia 

b.  1413  | d.  14  May  1444 

1 

in  1445-1446 
Gemma  di  Doni'" 
di  Romolo  Cecchi 
b.  r.410  d. 

1 ~ 

in  1426 
Papera 
b.  1401 
d.  1427-1430 

1 1 
9 June  1431  ni  1438 

Nanna  di  Tom*0  Cosa  di  Simone 

d'  Angelo  di  Luiano  di  Pietro  del  Guanto 

b.  1414  d.  before  1438  b.  1416  d. 

i 

1 

1 

Poliscna 
b.  1 Sept.  1427 
d.  1427-1430 

Filippo 


14  Nov.  1430 

d.  1430-M33 


Checca 

b.  1431  d.  1464 
married  in  1449 
Andrea  di  Ant0  Gori 


Jacopo 
b.  M3-' 


ANDREA 

Simone 

Paolo 

Margherita 

b.  20  Oct.  1435 
d.  4 Aug.  1525 
See  B 

b.  1438  d.  7 June  1521 
Arte  dei  M.di  P.eL.  1465 
married  in  1470 
Fiammetta  di  Franeo 
di  Simone  Lanaiuolo 
1 

b.  1430/40 

ii.  1442  ii. 

married  in  1460 
Toni'0  di  Gio.  di 
Piero  Bartolo 

Maddalena 

Maria 

Filippo 

1 

Luca,  Latinista 

b.  8 Apr.  1475 

b.  6 Apr.  1478 

b.  5 July  1479 

b.  19  May,  1484 

d. 

d-  d.  1533 

Became  Don 
Isidoro  Cassinense 

d.  12  Sept.  1519 
married  in  1511 
Bartolommea  di 
Benedetto  Cicciaporci 

Lorenzo 
b.  _ d. 

married  in  1547 
Cassandra  di 
Piero  Biondi 


Francesco 
b.  1443 


Luigi 

b.  d. 

married 

Ginevra  di  Silvestro 
Popoleschi 


r 

Laudamia 
b.  d. 

married 

Luigi  di  Matteo 
Viviani 

from  whom  arc 
descended  the  present 
Marchesi  Viviani-Della  Robbia 


Marco 
b.  d. 

Became  Fra 
Giovanni  Dominican 
Bishop  of  Rertinoro 


1 

Silvestro 
b.  d. 
Became  Don 
Isodoro  Cassinense 
Bishop  of  Bertinoro 


1 

Lorenzo 

b.  d.  1615 
Bishop  of  Cortona 
and  later  of  Fiesole 


Luca 


INTRODUCTION 


XVII 


It  may  no  longer  be  assumed  that  the  Robbias  had  a furnace  wherever  the 
name  Fornace  is  found  upon  the  map.  The  records  of  Pistoia,  of  Viterbo, 
and  of  Rome  show  payments  not  only  for  the  monuments  themselves  but 
for  their  transportation  from  Florence  as  well.  Many  irregularities  in  the 
setting  up  of  the  monuments — cornices  misplaced,  pilasters  set  upside 
down,  garlands  in  part  reversed — indicate  also  that  while  the  products  of 
his  atelier  were  being  spread  abroad,  the  master  remained  at  home. 

The  style  of  Andrea  was  essentially  decorative.  He  was  attracted  by 
form  rather  than  by  colour.  He  put  ornament  above  expression,  he  gave 
a touch  of  refinement  and  grace  to  whatever  he  undertook,  whether  it  were 
an  architectural  moulding  or  an  elaborate  reredos.  In  composition  he  was 
content  with  the  simplest  kind  of  balance.  This  usually  consisted  of  a 
central  figure  or  group  with  lateral  figures  of  equal  value.  In  the  school 
pieces  this  degenerated  of  course  into  a dull  uniformity.  But  Andrea  did 
not  hesitate  to  introduce  a certain  amount  of  asymmetry.  In  the  \ ieri 
Canigiani  altarpiece  (Fig.  33)  a landscape  on  a small  scale  with  S.  Fran- 
cesco receiving  the  stigmata  is  balanced  by  a larger  and  more  sculpturesque 
group  of  Tobias  and  the  Angel.  But  asymmetry  strong  as  this,  evidently 
did  not  please  him.  The  limit  of  asymmetry  which  appealed  to  Andrea 
may  be  seen  in  the  Coronation  altarpiece  at  the  Osservanza  (Fig.  45). 
Here  the  balance  between  an  imposing  God  the  Father  and  a smaller  Virgin 
is  preserved  by  a skillful  distribution  of  cherub  heads,  and  in  the  fore- 
ground the  group  of  three  saints  to  the  right  close  together  is  balanced  by 
two  to  the  left  set  further  apart.  In  the  Brizi  Adoration  (Fig.  41)  we 
find  a similar  amount  of  asymmetry;  but  we  observe  here  that  Andrea  was 
keener  to  preserve  a lateral  than  a vertical  balance.  The  composition  as  a 
whole  is  top-heavy,  more  so  than  in  later  compositions  where  adoring  angels 
were  reduced  in  size.  In  the  large  reredos  at  Aquila  (Fig.  122)  he  has 
attempted  to  combine  a Coronation  and  a Resurrection,  binding  them  to- 
gether by  means  of  musical  and  adoring  angels  and  avoiding  top-heaviness 
by  reducing  the  size  of  the  upper,  and  adding  weight  to  the  lower  group. 

The  types  which  he  created  are  characterized  by  refined  grace  and  charm. 
His  Madonnas  are  not  motherly  peasants,  but  aristocratic  ladies,  with 
delicate  features  and  clad  in  fine  linen.  He  was  no  admirer  of  blue-eyed 
beauties,  but  dark  eyes  made  a stronger  appeal  to  his  taste.  For  eyebrows 
and  pupils  he  used  dark  blue  or  violet  pigments,  and  for  the  irises  yellow. 
In  very  many  cases,  however,  he  secured  a more  naturalistic  effect  by  fusing 
the  pupils  and  irises,  not  into  round  dark  spots  as  Giovanni  was  accustomed 
to  paint  them,  but  by  the  use  of  copper  colour,  both  dark  and  light,  so  as  to 
produce  the  effect  of  hazel  eyes.  In  a general  way  we  may  say  that  Luca 
della  Robbia  was  fond  of  blue  eyes,  Andrea  of  hazel,  and  Giovanni  black. 

In  the  portrayal  of  religious  subjects,  which  of  course  occupied  his  atten- 


INTRODUCTION 


xviii 

tion  almost  exclusively,  we  are  sometimes  at  a loss  to  determine  whether  the 
scenes  are  portrayed  as  in  heaven  or  on  earth,  as  there  is  sometimes  no 
clear  distinction  made,  though  often  both  heaven  and  earth  are  indicated. 
The  heavens  are  indicated  by  a characteristically  refined  blue  sky — covered 
with  clouds.  These  are  distributed  from  the  top  to  the  base  of  the  picture 
and  painted  in  dark  blue  and  white.  Golden  tinged  clouds,  which  appealed, 
to  Giovanni  della  Robbia  and  to  the  two  Buglioni,  are  seldom  seen  in  the 
works  of  Andrea.  Landscape  backgrounds  of  course  occur  in  Nativities, 
in  La  Verna,  or  in  Desert  scenes,  but  the  colouring  is  more  or  less  arbitrary. 
Huts,  sheep,  dogs  are  used  when  needed  to  elucidate  a theme.  It  was  left 
to  Giovanni  and  others  to  distribute  insignificant  animals  throughout  the 
landscape  as  if  the  object  were  to  create  a menagerie. 

In  the  construction  of  frames  Andrea  exhibits  the  same  qualities.  If 
he  uses  architectural  mouldings,  it  is  not  the  heavy,  clumsy  variety  found  in 
some  works  of  the  Robbia  school,  but  delicate  moulding  of  graceful  outline 
well  proportioned  and  happily  combined;  if  he  decorates  his  pilasters  with 
arabesques  these  are  worthy  of  attention  for  their  regularity  and  decorative 
charm  ; he  makes  an  attractive  innovation  in  the  use  of  cherub  heads  for 
friezes  and  frames,  either  singly  or  in  conjunction  with  floral  or  fruit  gar- 
lands. Floral  garlands  were  treated  more  or  less  realistically  by  Luca  della 
Robbia;  in  the  hands  of  Andrea  they  become  more  conventional.  In  the 
seventies  they  were  less  conventional,  as  for  example  in  the  Madonna  of 
the  Architects  (Fig.  19)  or  in  the  Sassetti  altarpiece  (Fig.  20);  in  the 
eighties  they  became  stereotyped  into  triplex  bunches  set  at  regular  inter- 
vals, modified  only  by  rhythmical  alternation  of  form  (Pigs.  56,  158). 
Similarly  the  fruit  garland,  naturalistically  treated  by  Luca,  became  in 
Andrea’s  hands  subject  to  schematic  arrangement.  Seldom  do  we  find  a 
single  file  of  fruit  (Figs.  28,  134),  and  infrequently  groups  of  two  (Fig. 
162),  or  of  complex  groups  (Fig  no)  ; the  much  more  common  type  being 
that  of  triplex  groups  (Fig.  38)  composed  of  fruits  of  the  same  kind  set 
2 and  1,  separated  from  fruit  of  another  kind  similarly  arranged,  with  a 
rhythmic  alternation  of  colour  and  united  into  a garland  by  means  of  ribbons 
of  rectilinear  or  serpentine  outline.  These  fruit  garlands,  when  used  to 
decorate  pilasters  or  upright  friezes,  usually  spring  from  vases.  The  La 
Verna  Crucifixion  ( Fig.  68)  illustrates  how  decorative  the  fruit  garland 
became  in  the  hands  of  Andrea  della  Robbia.  In  the  hands  of  his  successors 
the  same  motive  became  a vulgar  concatenation  of  fruit  and  flowers,  with- 
out distinction  or  charm.  This  degeneracy  is  supposed  by  some  to  have 
begun  with  Andrea  himself  and  that  the  chief  glory  of  the  Robbias  de- 
parted with  the  death  of  Luca.  Such  a judgment  fails,  however,  to  give  to 
Andrea  sufficient  credit  for  his  masterpieces.  Luca  della  Robbia,  with 
all  his  insight,  his  originality,  and  his  power,  produced  few  works  which 


INTRODUCTION 


XIX 


in  grace,  refinement,  and  decorative  charm  can  compare  with  the  Osservanza 
Coronation  (Fig.  45)  or  the  La  Verna  Crucifixion  (Fig.  68). 


DOCUMENTS 

[Copied  by  Mr.  Rufus  G.  Mather.] 

1.  Birth  of  Andrea  della  Robbia. 

“Andrea  di  Marco  di  Simo(ne)  della  Robbia 
adi  20  dottobre  1435” 

[Archivio  di  Stato.  Libro  Approvazione  di  Età  dal  1432  al  1512.  Cod. 
Carta  See.  xvi,  segnato  Tratte,  Cod.  42,  c 1.] 

2-13.  Births  and  Baptisms  of  Andrea  della  Robbia’s  children. 

2.  “Mercoledì  adi  21  di  decto  (Gennaio)  1466  (modern  style  1467) 
Anto”  et  Margherita  dandrea  di  Marco  de  Larobbia 

nacque  di  decto  hore  sette  et  batezato  di  decto  ba(tezata)  di  21” 

[Archivio  dell’  Opera  di  Sa  Ma  del  Fiore.  Libro  dei  Battezati,  1466- 
1473,  c.  6.] 

3.  “Mercoledì  adi  7 di  decto  (Aprile)  1468 
Marco  et  Giovanni  de  Andrea  di  Marco  p.  di  San 

Lorèzo  nacque  adi  6 ahore  17  bat0  adi  7” 

[Idem,  c.  31.] 

4.  “Adi  20  di  decto  (Maggio)  1469 

Giovani  et  Anto°  de  Andrea  di  Giovani  (error — should  be  Marco)  p.  di  San 
Lorèzo  nacque  adi  19  ahore  3 ba‘°  addi  20’’ 

[Idem,  c.  53'.] 

5.  “Venerdì  adi  2 di  decto  (Novèbre)  1470 
Paolo  et  Santi  de  Andrea  di  Marco  delarobbia 
p.  di  S°  Lore20  nacque  adi  due 

hore  12-  ba'°  adj  2” 

[Idem,  c.  84*.] 

6.  “Sabato*  adi  18  di  decto  (Septébre)  1473 
Lisabetta  et  francesca  de  Andrea  di  Marco  delarobbia 

nacque  adi  18  ahore  6 — bata  ad]  18” 

[Idem,  c.  145.] 

7.  “Sabato  addj  26  Dagosto  1475 
Lucha  et  bartholomeo  Dandrea  di  marcilo  della 
robbia  p.  di  santo  lorenzo  naq  addj  25  hore  23 — 

[Archiv.  idem,  Libro  dei  Battezati,  1473-1481,  c.  29.] 


ba  addj  26’’ 


XX 


INTRODUCTION 


8.  “Mercoledì  adi  23  di  decto  (Luglio)  1477 
Franc0  et  iac°  dandrea  di  (lac  written  and  cancelled) 

Marco  p.  di  San  Lorézo  nacque  adi  23  ahore  14 — ba  adi  23” 

[Idem,  c.  66.] 

9.  “Sabato  adi  19  di  decto  (Agosto)  1480 
Caterina  et  lodovica  dandrea  di  Marcho  delarobia 

nacque  adj  19  ho  re  15 — ba  adi  19” 

[Idem,  c.  no1.] 

10.  “Aprile  1483 
Lunedi  adi  14  daprile  1483 

Piero  domeco  (domenico)  et  ro(mo)lo  dandrea  di  marcho 
p.  di  san  lorézo  nacq.  adi  13  hor  24  ba  adi  14” 

[Arch,  di  S.  Maria  del  Fiore,  Lib.  dei  Batt.,  Maschi,  1481-1492,  c.  22.] 

11.  “Martedì  adj  23  di  maggio  i486 
Margherita  zanobia  e romola  dandrea  di  marcho  della  robbia 
p°.  di  s°  lorenzo  nacq.  adj  23  hore  di 

[Arch,  idem,  idem,  Maschi  e femine,  12  Aprile-2  Ottobre  i486.] 

12.  “Lunedi  addi  io  di  marzo  1487 
girolamo  domenico  dandrea  di  marco  dellarobia 
p°  dj  scò  lorézo  nacque  addi  9 ore  21.” 

[Arch,  idem,  Lib.  dei  Batt.,  1479-1489;  also  Milanesi,  Misceli.  43  III 
P,  c.  149.] 

“Lunedi  adi  io  di  marzo  1487 

girolamo  et  domenic0  dandrea  di  marcho  della  robbia 
p°  di  s/co  lorézo  nacq.  adi  9 h(o)re  12.  ba  adi  10“ 

[Arch,  idem,  Lib.  dei  Batt.,  Maschi,  1481-1492,  c 98'.] 

13.  “Sabbato  adi  primo  di  Septembre  1492 
Maria  et  magdalena  dandrea  di  marco  della  robbia 

p°  di  s L°.  adi  p°  hò  23.  ba  adi  2’’ 

[Arch,  idem,  idem,  Femmine,  1491-1501,  c.  165*.] 

14-18.  Births  and  Baptisms  of  Giovanni  della  Robbia's  children. 

14.  “Martedì  adj  19  d(e)c(t)o  (Decembre,  1503). 

Marcho  et  romolo  di  giovan(n)j  dandrea  dellarobbia 

p.  di  scò  lorézo  n(acque)  adj  19  di  detto  mese  hore  4/2.” 

[Arch,  idem,  idem,  1500-1507;  also  idem,  1501-1511,  c.  341.] 

15.  “Venerdì  Addj  11  (Aprile,  1505) 

Filippo  et  Ro(mo)lo  Di  giovali  (n)j  dàdrea  dellarobbia 
p.  di  s°  p°  mre  N(acque)  addj  11  hore  15/2 ”. 

[Arch,  idem,  idem;  also  1501-1511,  c.  57.] 


INTRODUCTION 


XXI 


della  Robbia 


Pagoli 


della  Robbia 
Mascalzoni 

della  Robbia 
Bartoli 


16.  “Martedì  addi  XIII j di  d(e)c(t)o  (Aprile,  1506) 

Lucant0  et  romolo  di  giovanili  dandrea  della  robbia 

p.  di  s°  pierò  maggiore  N(acque)  addi  13  h.  16)4” 

[Arch,  idem,  idem;  also  1501-1511,  c.  72*.] 

17.  “Sabbato  addi  21  di  decto  (Ottobre,  1508) 

Lexa(n)dra  et  orsola  di  giovan(n)i  dàdrea  della  robbia 
po.  di  S.  Lorèzo  n.  addi  decto  h.  6.” 

[Arch,  idem,  Femmine,  1507-1516;  also  idem,  1501-1511,  c.  112'.] 

18.  “Domenicha  adi  27  di  detto  (Aprile,  1511) 

Simone  et  ro(mo)lo  di  giovan(n)i  dàdrea  della  robbia 
po.  S.  Lorèzo  N(acque)  del  di  deto  h.  4.’’ 

[Arch,  idem,  idem,  Maschi,  1507-1516;  also,  idem,  1501-1511,  c.  163.] 

19.  Birth  and  Baptism  of  Luca  della  Robbia,  Latinistà. 

“Mercoledì  adi  19  di  decto  (Maggio)  1484 

Luca  et  zanobi  di  simone  di  marcilo,  p.  di  san 

lorèzo  nacq(ue)  adi  19  hor(e)  16  ba  adi  19’’ 

[Arch,  idem,  idem,  Maschi,  1481-1492,  c.  38'.] 

20.  Marriage  of  Andrea  della  Robbia. 

“Andrea  q(uondam)  Marci  Simonis  della  Robbia 

Intagliator  p(o)p(o)li  S.  Laurentij  recepit 
in  dotem 

D(o)n(n)ae  Ioa(nn)ae  eius  ux(or)is  et  filiae 
Ser  Laurentij  Paoli  F(lorenos)  266  225" 

[Spogli  dello  Strozzi.  Cod.  Carta  See.  NATI,  Segnato  Magliab.  Cl. 
XXXVII  Cod.  299,  c.  223,  Libro  D 116  Qre  S.  Gio1,  1465;  M.  L.  d.  R., 
XXXVII. ] 

“Dna  Ioa(nn)a  voc(ata)  Nanna  Alia  Pieri  Ser 
Laurentij  Paoli  uxor  Andree  Marci  Simonis 

della  Robbia,  dos  F.  800  55”’ 

[Idem,  idem,  Libri  di  Notificazioni,  c.  286.] 

21.  Marriage  of  Antonia  della  Robbia 

“Dna  Antonia  filia  Andree  Marci  della  Robbia 
uxor  Hieronimi  Michaelis  Ioa(nn)is  Mascalzoni  202” 

[Idem,  idem,  c.  238  Libro  D 236  Qr°  S.  Gio1,  1485.] 

22.  Marriage  of  Giovanni  della  Robbia. 

“Gio1  di  Andrea  della  Robbia  consumò 
matrimonio  con 

Ma  toma  fig’a  di  Carlo  di  Geri  Bartoli  con  dote  di 
f.  600  l’anno  1503  176” 

[Idem,  idem,  Lib.  di  Notif.,  c.  288.] 


XXII 


INTRODUCTION 


23.  Marriage  of  Maria  della  Robbia 

della  Robbia  “Ma  Maria  fig'"  di  Andrea  della  Robbia  moglie  di 

Tom  di  Marco  Fantini  Tintore  di  seta  60’ 

[Idem,  idem,  c.  289,  Lib.  di  Notif.  1515  e 1516.] 

1515  “Tonfi0  di  Marco  fantini 

Maria  di  Andrea  della  Robbia-' 

[Ancisa,  N.  N.,  232.] 

24.  Marriages  of  Luca  di  Andrea  della  Robbia. 

1 524  “Luca  di  Andrea  della  Robbia 

Agnoletta  (di  Pietropaolo  Falconieri)” 

[Idem,  179.] 

1528  “Luca  di  Andrea  di  Marco  della  Robbia 
BartoP  di  Leonardo  di  Tomasso  Altoviti.” 

[Zibaldone  di  Ferd.  del  Migliore,  Cod.  cart.  sec.  XVII  segnato 
Magliab.  Cl.  XXVI,  Cod.  133,  c.  273.  Notif.  anno  1528.] 

25.  Marriage  of  Girolamo  della  Robbia 

1543  “Girolamo  d'And"  di  Marco  della  Robbia  stà 
in  francia  Luisa  di  Piero  Mattei. 

[Idem,  c.  307,  Notif.,  anno  1543.] 

26.  Death  of  Andrea  della  Robbia's  mother. 

“Maggio  1444 

La  moglie  di  marcho  dj  simone  delarobbia  morj  adj  14  di  Magio 
Recata  ì sanpiero  Maggiore” 

[A.  di  S.  L'fficio  della  Grascia.  Libro  dei  Morti,  Cod.  Cartapecora, 
1 438- 1 448,  c.  58.] 

27.  Death  of  Andrea’s  father. 

“Adj  17  di  dicembre  (1448) 

Marcho  di  simone  della  robbia  lan(aiol)o 
pp°  di  sto  pierò  maggior  cli  cataro” 

[Idem,  c.  ioó\] 

28.  Death  of  Andrea  della  Robbia. 

“Agosto  MDXXV 

Andrea  di  Pagolo  (error  for  Marco)  della  Robbia 
Adi  5.  Recato  in  st0  p°  nT  (Saneto  Piero  Maggiore)” 

[A.  di  S.  Arte  dei  Medici  e Speziali.  Libro  dei  Morti  G,  1521-1530, 
segnato  Arti  6,  Cod.  249,  c.  4 ; also  in  Ufficio  della  Grascia,  Libro  dei 
Morti,  1506-1560,  c.  216'.] 

29.  Death  of  Andrea's  brother  Simone. 

“ + MDXXj 

Simone  di  doni"'  (error  for  Marco)  della  robia 

Riposto  in  S°  anbrugio  dj  10” 

[A.  di  S.,  L'fficio  della  grascia.  Libro  dei  Morti,  1506-1560,  c.  393  ] 


INTRODUCTION  xxiii 

30.  Death  of  Andrea's  son  Piero. 

“ + MCCCCLXXXXI  j 

Uno  figluolo  dandrea  dallarobia 

Riposto  in  san  p"  maggiore  adj  p°  detto  (gennaio)." 

[A.  d.  S.,  Ufficio  della  Grascia,  Libro  dei  Morti,  1457-1506,  c.  238.'] 

31.  Andrea's  daughter  Margherita  is  Suora  Agnolina  in  the  Convent 
of  S.  Lucia. 

208.  “Suora  Agnolina  d’ Andrea  de  la  Robbia  venne  alla  Religione  d'anni 
16  e 62  anni  visse  in  questo  Mon".  Questa  Madre  era  sana,  di 
buono  ingegno,  leggeva  bene,  et  sedici  anni  stette  cantora,  e molto  si 
diletteva  delle  divine  laude  in  coro,  e della  lettione  della  st:i  scrittura, 
parlava  volentieri  delle  cose  spirituale,  e si  rallegrava  dell’  honor  di 
Dio,  e del  profitto  spirituale  del  Mon,  e della  salute  dell’  anime.  Era 
devota,  humile,  e dispregiata  di  se  stessa,  e fuggiva  gli  honori,  stava 
volentieri  solitaria,  e molto  si  dilettava  della  cella.  Nell’  ultimo  della 
vita  sua  si  infermò  di  febbre  cótinua  con  enfiagione  grande  di 
stomaco  e di  corpo,  et  haveva  pene  grande  sopportò  co  tanta  patientia 
che  dava  edificatione  et  esemplo  grande  a’  Medici,  et  a’  tutte  le  suore, 
e quando  gli  pareva  megliorare  si  contristava,  e diceva  non  vorrei 
tornare  a'  drieto,  perche  mi  par  ogn’  bora  mille  di  andare  dal  mio 
celeste  sposo  al  quale  sono  stata  giurata  62  anni,  e quando  era  nella 
maggior'  pene  si  voltava  con  devotione  e fervore  a'  Dio,  e diceva 
signor’  mio  se  non  son  tante  queste  pene  datemene  pur  dell'  altre, 
perche  mi  còtento  di  patire  piu  assai  che  nò  patisco,  e con  gravita, 
e molta  devotione  ricevette  li  st 1 sacramenti,  con  buon  conoscimento 
in  sin'  all’  ultimo,  e si  riposo  in  pace  la  seconda  festa  de  lo  spò  st0 
a di  22  di  Maggio  1564.  Ha  havuto  le  30  Messe — ” 

[Archivio  di  San  Marco  da  Un  Frammento  di  Una  Cronaca  del  Monas- 
tero di  Santa  Lucia,  Cod.  Cart,  del  Sec.  XVI  c.  88.] 

32.  His  daughter  Caterina  is  Suora  Speranza  in  the  same  convent. 

21 1.  “Suora  speranza  d'Andrea  della  robbia  venne  alla  religione  d’anni 
16  e 69  anni  visse  in  questo  mon".  Questa  ven'X  (veneranda)  Madre 
era  di  buon  cervello,  e bollissimo  ingegno,  faceva  molte  oratione,  e 
frequentava  e s“  sacramenti.  Leggeva  assai  le  scritture  sàte,  e si 
dilettava  delle  divine  laude.  Era  humile  e dispregiatrice  di  se  stessa. 
Lavorava  bene.  Leggeva  bene  in  coro.  Scrisse  dua  graduali,  e dua 
antipbonarj  pel  coro.  Et  finalmente  essendo  vecchio  di  84  ani  si 
Ifermo  di  hidropico,  e si  corruppe  la  sua  carne  con  grande  enfiagione, 
in  tal  modo  eh  haveva  quindici  piaghe  nel  corpo  suo  cò  pene  grandis- 
sime, le  quale  sopportava  con  tanta  patientia,  et  humilita,  che  com- 
moveva a"  lacrime  chi  la  vedeva  e udiva  parlare.  Era  la  p”  (prima 


XXIV 


INTRODUCTION 


i.e.  la  più  vecchia)  Madre  del  moti0,  e veramente  ha  lasciato  un 
grande  esemplo  di  perfettissima  patientia,  et  humilta,  cò  la  quale 
devotamente,  e cò  gran’  sùmissione,  continamente  si  race110  (racco- 
mandava) a Dio,  cò  grande  affetto,  e lacrime,  e veramète  il  suo 
fine  è statto  laudabile  notabilmente  e di  grande  odore  di  bontà.  E 
ricevuti  li  s“.  sacraméti  si  riposò  nel  sigT  a di  7 d’Aprile  1565.  Ha 

havuto  le  Messe  di  sa  Gregorio  — — ” 

[Idem,  88'.] 


33.  Andrea’s  provision  for  his 
“Andrea  della  Robbia  de  dare 
f 58  lj  d°  1 5 . 12  p(er)  limosina 
duna  sua  figliuola  chiamata 
Margherita  hora  dea  sa 
Agnolina  p.ch.  cosi  p(ro)misse 
al  Monrl°  (Monasterio)  cioè 
f 84  dj  sug'°( suggello)  eh  (risto)  - 
fanó  la  sopdcà  soma  f 58  1 


[Archivio  di  Stato,  Monastero 
A,  1512-1538,  segnato  Corp.  Sopp 


daughter  Margherita  (Suora  Agnolina). 
“Andrea  di  còtro  de  havere 
a di  7 di  Maggio  1502  f 
octàta  quattro  di  suggello 
p(er)  staiora  14  di  terra  posta 
nel  popolo  di  san  Cristofano 
a nuovolj  luogo  dcó  lolmar- 
tello  delle  quale  vera  circa 
5 s 12’staiora  3 vignata  furono 
stimate  f 60  di  suggello 
la  qual  vigna  dcó  Andrea 
decte  (dette)  p(er)  limosina  della 
Margherita  sua  figliuola  al 
psète  (presente)  vocata 
s°  Agnolina  somào  a f lj-f  58  1 5 s 12’ 
di  Sa  Lucia,  Libro  Debitori  e Creditori 
. Ill  Cod.  40,  c.  38.] 


34.  Payments  made  for  Caterina 
1542  “Luca  còtra  scripto  de  dare 
hoggi  q°  di  21  1 210 
equal j se  li  sono  rèdutj 
q°  di  sopradeò  et  p(er)luj 
a Thomaso  di  lionardo 
altovitj  dixe  p(er)  fare 
la  dota  alla  Nànina 
figliuola  di  dcò  Luca 
di  àdrea  della  robbia-fj  30" 


(Suora  Speranza). 

“Luca  di  andrea  della  robbia  de 
havere  hoggi  q°  di  15  di 
settèbre  1541  A (scudi)  18  lj 
d°  di  1 7 p(er)  A equal j ciba 
prefattj  I 3 partite  p(er)le 
manj  di  sa  speranza  sua 
sorella  la  quale  li  havutj 
di  piu  maseritie  vedute  — fj  18 
E de  havere  dcò  adi  26 
dottobre  1 35  dee  cotanti 
sa  speràza  sorella  del 

sopra  dcò  fj  5 

E de  havere  dcò  adi  28  di 
génaio  1541  1 49  dee  còtantj 
dea  sa  speràza  — fj  7” 


[Idem,  c.  84.] 


INTRODUCTION 


XXV 


35.  Andrea  revised  the  list  of  matriculates  of  the  Arte  de’Maestri  di 
Pietra  e di  Legnami. 

“Andreas  Marci  Simonis  della  rabbia  Intaglator  recognovit  matriculam 
dicti  luce  Simonis  Marci  eius  avi  della  robbia  die  XVI  Septembris  1458” 
[A.  di  S.  Arte  de’Maestri  di  Pietra  e di  Legnami,  Libro  dei  Matricolati; 
segnato  Arti  11,  Cod.  2,  c.  no1.] 

36.  Andrea’s  admonition,  1498. 

“Ricordo  di  Ciptadini  amuniti  parte  da’  signori,  e parte 
dagli  Otto  della  Balia,  che  furono  di  Maggio,  e Giugno 
1498.  e’  qua’  Ciptadini  erano,  perchè  facievano  fede  al 
Papa  Alessandro  Sesto,  che  fra  Girolamo  predichava 
buona  dottrina,  perchè  andavano  a udire  le  sue  prediche, 
e perchè  gli  erano  da  300.  e que’  Ciptadini  che  lo  feciono 
ardere  amunirono  questi  Ciptadini 

(Here  follows  list  of  citizens) 

Questi  furono  amuniti  per  dette  chagioni  addì  19 
di  Giugno  1498  per  anni  dua,  e dipoi  vinciere  el 
partito  per  le  44  fave,  e prima 

(Here  follow  16  names  and  then) 

Andrea  di  Marcho  della  Robbia  per  la  minore” 

[G.  Cambi,  Istoria  di  Firenze,  II,  1 3 1 . ] 

36“.  “Fam.  della  Robbia. 

Andrea  fu  uno  dei  più  galanti  seguaci  di  fra 
Girolamo  Savanarola  e segue  che  avendo  prese  le 
armi  in  sua  difesa  durante  la  battaglia  ch’ebbe 
luogo  a S.  Marco  per  il  suo  arresto  fu  per  sentenza 
de’  19  giugno  1498  privato  per  due  anni  dell’abilità 
ad  ogni  pubblico  officio.” 

[Bibl.  Naz.,  Schedario  Passerini  No.  I98bls,  Ms.  Sec  XIX.] 

37.  Passport  for  Andrea  to  go  to  Rome,  July  26,  1506. 

“Universis  et  singulis  ad  quos  presentes  p(  er)  venerint  Saltern ( Salutem  ) 

cum  dilectus  filius  Andreas  dela  rubia  ad  nos  venturus  sit  pro  no  nullis 
rebus  atque  operibus  per  eum  nró  nòie  (nomine)  factis  nos  cupientes  eidem 
andree  tutum  et  securù  iter  ubique  patere  et  in  locis  p(er)  que  iter  facturus 
est  cum  benignitate  et  humanitate  tractarj  devotione  vràm  (vestram)  ac 
vrm  (vestrum)  singlos(singulos)  hortamur  in  dnò  subditis  vero  nrls  (nos- 
tris)  et  gentili  armigerarum  capitanis  atque  ductoribus  expresse  precipiendo 
mandamus  et  eùdem  andream  cum  rebus  op(er)ibusque  hmòi  (huismodi) 
nec  nò  valisi js  et  salcivulis  suis  p(er)  civitates  terras  passus  pontes  et  alia 
loca  qlibet  tamen  nrà  q vestra  ascjue  ullo  reali  p(er) sonali  jmpediméto  aut 


XXVI 


INTRODUCTION 


dati j passagij  aut  cuiusuis  alterius  jndicti  vel  jndicendi  oneris  solutione  pro 
nrà  et  ap(osto)lice  sedis  reverentia  jre  transire  redireque  p(er)mittatis 
eique  descorta  et  salvo  conducto  si  opus  fuerit  et  enquirédum  duxerit  ita 
benigne  provideatis  ut  vrà  (vestra)  exinde  devotio  apud  nos  et  hanc  sanctam 
sedem  predictam  possitis  ImeritO1  còmendari  pntibus  (presentibus)  ad  ném 
(nostrem)  benem  placitum  valituris  : Datum  Rome  XXVj  Julij  millesiò 
quigentesìo  sexto  pontis  (pontificati)  nré  anno  tertio  : — ” 

[Archivio  Segreto  del  Vaticano,  Brev.  Julj  II,  Tomo  III,  Anno  1506, 
segnato  Armadio  XXXIX  Cod.  24,  c.  360,  360'  ; Milanesi,  Mise.,  XIII, 
segn.  34  III  P,  c.  217.] 

38-39.  Della  Robbias  eligible  for  the  Grand  Council  of  1525. 

38.  “Die  XXVII j mensis  novébris  1525 
Johan (n) is  et  ’ a 


venire  ad  magistratum  diete  artis  et  describi 
inter  alios  matricolatos  propterea  promiserunt  etc 
juraverunt  etc  obligantes  etc  rogantes  etc 

Debent  solvere  florenos  sex  sig“  pro  qualibet 
eorum” 

[Arte  dei  Medici  e degli  Speziali,  Libro  Verde  d.  mat*  per  città  dell’  Arte 
d.  Med.  e spez.,  segnato  Arti  6,  Cod.  II,  c.  22*.] 

39.  “Nota  di  tutti  i Cittadini  Fiorentini  descritti,  et  abili 
per  il  Consiglio  maggiore  della  Città  di  Firenze  qui  distinti 
per  i loro  Quartieri  e Gonfalonieri,  et  i Gonfaloni  per 
Casate,  prima  per  le  Maggiori,  e doppo  per  le  Minori  Arti 
copiata  da  un  libretto  in  quarto  del  Sig.  Francò  Rosselli 
coperto  di  Cartapecora  che  nella  costola  del  medma  dice  : 

Consiglio  Grande  del  MDXXV. 

Quart'  S.  Gio.  Gonfe  chiave  per  le  Minori 
Giovanni  ò 

Girolamo  > di  Andrea  della  Robbia” 

Luca  J 


[Bib.  Naz.  di  Firenze,  Memorie  di  Firenze  raccolte  da  Gaetano  Martini 
l’anno  MDCCXXXV,  Cod.  Carta,  segnato  Panciatich.  n°  116,  Tomo  I c. 
189.] 

40.  Accounts  of  Andrea  with  the  Arte  de’Maestri  di  Pietra  e di  Leg- 
nami. 

“Andrea  di  marcho  della  robbia  de  dare 

per  lanno  1466  soldi  dodici  1-  s xii  d — 

E de  dare  per  lanno  1467  1-  s xii  d- 

E per  lanno  1468  1469  1 1 s iii j° 


Luca 


INTRODUCTION 


XXVll 


E per  lanno  1470  1471  1 

E per  lanno  1472  73  74  1 

E per  lanno  1475  ^ 

E de  dare  soldi  cinque  perchè  Rifiutò 

desere  festaiuolo  lanno  1476  1 

E de  dare  per  lanno  1476  1 

E per  lanno  1477  1 

E per  la  sua  tassa  delanno  1477  1478  1 

E pel  suo  torchietto  delanno  1478  1 

E pel  suo  torchietto  1479  1 

E per  la  sua  tassa  1479  1480  1 

E peli  suo  torchietto  dellano  1480 

81  82  83  1 

E per  la  tasa  dellano  1481  82  83  1 

E per  la  ttassa  per  lanno  dellanno  (sic) 

1484  1485  i486  1487  13.  9.0  1 

15  • U 

Posto  debitore  in  questo  c 291  di  soldi  uno 
denari  iij  per  resto  di  tutto  lanno  1487” 

[Archiv.  di  Stato,  Arte  de’Maestri  di  Pietra  e di  Legnami, 
tore  e Creditori,  segnato  Arti  11,  Cod.  4,  c.  1 1 . ] 

Documents  40-46  were  copied  by  Sig  Giovanni  Masi. 

41.  Continuation  of  the  same. 

“Andrea  di  marcho  di  simone  della  robbia  intaglatore  deve 
avere 

soldi  sei  piccioli  per  resto  di  sua  ragione  per  tuto  lanno  1465 


ehome  apare  al  champione  V°  c 101  1 

E de  avere  a di  XXIIIj°  di  dicembre  1468  lire  una  soldi  dieci 
antrata  di  marjotto  ciotoli  Kamerario  c 7 1 

E de  avere  a di  ultimo  dachosto  1469  soldi  xviij  perche  fu 
del  chonsiglo  1 

E de  avere  a di  ultimo  daprile  1471  soldi  xviij  perche  del 
chonsiglio  1 

E de  avere  a di  ubino  di  dicembre  1472  soldi  xviij  perche 
fu  del  consiglio  1 

E a di  ubino  daprile  1473  soldi  X perche  fu  sindacho  di 
Stefano  da  sanchasciano  Kamerario  1 

E a di  XXXI0  dottobre  1476  soldi  cinque  a entrata  di 
pacholo  picchardi  chamerario  c 6 1 

E de  avere  soldi  XVJ  per  lui  da  lucha  suo  zio  per  Resto 
della  sua  inposta  pachata  posto  debi  dare  allibro  spe- 
dale G c 34  1 


1 s iiij 
1 s xvj 

- s xij 

- S V 

- s xij 

- s xij 
I s iiij 

- s vj 

- s vj 
I s iiij 

I s iiij 

I s xvj 

ij  s vi i j 


Libro  Debi- 


- s vj 

I S X 

- s xviij 

- s xviij 

- s xviij 

- S X 

- s v 


- s xvj 


INTRODUCTION 


xxviii 


E de  avere  a di  ultimo  daprile  1478  soldi  XVIIJ  perche 
fu  del  chonsiglo 

E a di  ultino  dachosto  1479  soldi  XVIIJ  perche  fu  del  chon- 
siglo mesi  IIIJ°  passati 

E a di  ultimo  di  dicenbre  1479  lire  una  soldi  X per  lui  da  ser 
bastiano  nostro  notaro  posto  debi  dare  allibro  Rosso 
debitori  e chreditori  G a.  c.  51 

E de  avere  a di  ultino  daprile  1480  soldi  X perche  fu 
sindacho 

E a di  ultino  dachosto  1481  soldi  XVIIJ  perche  fu  del  chon- 
siglo 4 mesi  passati 

E a di  XXIIIJ"  di  febraio  1481  soldi  VJ  denari  VIIJ°  Reco 
domenicho  a entrata  di  marcilo  da  terra  rossa  c 18 

E a die  ultino  dachosto  1482  soldi  XVIIJ  perche  fu  del 
chonsiglio  IIIJ0  illesi  passati 

E a di  ultino  di  dicenbre  1483  soldi  XVIIJ  perche  fu  del 
chonsiglo  IIIJ  mesi  passati 

E per  insino  a di  8 di  novenbre  1482  soldi  VJ  del  torchieto 
a entrata  di  francescho  di  bartolomeo  di  berto  c 9 

E a di  8 di  novenbre  1483  soldi  VJ  del  torchieto  a entrata 
di  michele  di  rinaldo  angeni  c 18 

E a di  utino  dagosto  1484  soldi  X perche  fu  sindacho  IIIJ0 
mesi  passati  9 — 8 

E de  avere  a di  ultino  daprile  1485  soldi  XVIIJ  perche  fu 
del  chonsiglo  e 4 mesi  passati 

E a di  ultino  daprile  i486  soldi  XVIIJ  perche  fu  del  chon- 
siglo 4 mesi  passati  15 


1 - s xviij 
1 - s xviij 

1 I S X 
1 - S X 

1 - s xviij 
1 - s vj  d vii j° 
1 - s xviij 
1 - s xviij 
1 - s vj 
1 - s vj 

1 - S X 

1 - s xviij 
1-  s xviij” 


[Idem,  idem,  c.  xi.] 


15 -US -9 


42.  Continuation  of  the  same. 

“Andrea  di  marcilo  della  Robia  de  dare  soldi 
uno  denari  1 1 J per  Resto  di  tutto  lamio  1487 
chome  appare  in  questo  c 1 1 
E de  dare  per  la  sua  tassa  dellanno  1488 
1489  1490  1491  e 1492 

E de  dare  per  la  sua  tassa  dellanno  1493  I494 

E per  la  sua  tassa  dellanno  1495 

In  questo  E pel-  ]a  ttassa  dellanno  1496  1497  6.1.4 

c 416  , 

h per  Ila  tassa  dellanno  1498  99 

1500  1501  1502  1503 

E per  la  ttasa  delano  1504  soldi  sei 

E peri  ttorchietto  delano  1504  soldi  sei 


1 iij  s - 
1 1 s iiij 
1 - s xij 
1 1 s iiij 

1 iij  s xij 
1 - svj 
1 - s vj 


Resto 


INTRODUCTION 

E de  dare  per  la  tassa  dellano  1505  6 

78a  soldi  XII  lano  io.  1 1.4 

E per  lai  torchietto  dellanno  1508  soldi  vj 
E per  la  tassa  dellano  1509  et  peri  torchietto 
di  detto  ano  in  tutto  13.  6.4 

E de  dare  posto  gli  debbi  avere  in  questo 
c 416  per  resto  di  questo  conto  13.  4.4 

1 14  6 6 

[Idem,  idem,  c.  291.] 

43.  Continuation  of  the  same. 

“Andrea  di  marche  della  Robia  de  avere  a di  ultino  di 
dicenbre  1487  soldi  diciotto  perche  fu  del  chosiglo  e quattro 
mesi  passati 

E de  avere  a di  ultino  di  dicenbre  1488  soldi  XVIIJ  perche 
fu  del  chonsiglo  e 4 mesi  passati 
E de  avere  a di  ultino  daprile  1490  soldi  XVIIJ  perche  fu 
del  chonsiglo  e 4 mesi  passati 
E de  avere  a di  ultino  daprile  1491  soldi  XVIIJ  perche  fu 
del  chonsiglo  III J°  nesi  passati  finito  detto  di 
E de  avere  a di  ultino  di  dicenbre  1492  soldi  XVIIJ  perche 
fu  del  chonsiglo  III J mesi  passati 
E de  avere  a di  XXX  di  magio  1495  soldi  venti  richo  paeino 
pel  suo  acchatto  a entrata  di  chorso  di  maso  nostro 
Kamerario  c 30 

E a di  ultimo  di  dicembre  1496  soldi  18  perche  fu  del  con- 
siglio 4 mesi  passati  6.8 

E de  avere  lire  I II J sono  per  resto  duna  sua  ragione  allibro 
roso  c 148 

E de  avere  soldi  18  perche  fu  del  chonsiglio  adi  ultjmo  di 
dicembre  1502 

E de  avere  per  lesere  stato  deio  chonsiglio  4 mexi  comin- 
ciato a di  primo  di  maggio  1503 
E de  avere  per  essere  stato  del  chonssiglio  4 messi  chomin- 
ciatti  a di  primo  di  magio  1504 
E de  avere  addi  primo  di  settenbre  1508  soldi  XVIIJ  per 
essere  istato  del  nostro  chonsiglio  13  2 

E de  avere  peri  torchietto  dellanno  1508  antrata  di  fìnoxino 
di  michele  14.6 

[Idem,  idem,  c.  CCLXXXXj  ] 

44.  Continuation  of  the  same. 

“Andrea  di  marcho  de  la  robia  de  dare  pela  tasa  e 
torchietto  delanno  1510  11  12  13  14  a soldi  diciotto  lano 


xxix 

1 ij  s viij 
1 - s vj 

1 — s xviij 

li  si  d 8” 

1 - s xviij 
1 — s xviij 
1 - s xviij 
1 - s xviij 
1 - s xviij 

1 I s — 

1 - s xvii  j 
1 iiij  s - 
1 - s xvii  j 
1 - s xviij 
1 - s xviij 
1 - s xvii  j 
I - s vj” 


XXX 


INTRODUCTION 


in  tutto  lire  quattro  soldi  io  1 4 s 10 

E de  dare  pe  la  tasa  e torchietto  delano  1515  soldi  18  1-  s 18 

E de  dare  a di  30  daprile  1515  lire  sette  soldi  diecenove 
denari  2 che  tanto  gli  tocha  per  esere  istato  nostro 
camerario  per  4 mesi  cioè  da  di  primo  di  gienaio  1515 
chome  si  vede  a loscita  sua  c 20  a soldi  15  denari  11 
per  lira  1 7 s 19  d 2 

E de  dare  pela  tasa  e torchietto  delano  1516  soldi  18  13.7.2  1 — s 18 

E de  dare  pela  tasa  e torchietto  delano  1517  soldi  18  14.5.2  1-  s 18 

E de  dare  pela  ttasa  e torchietto  delano  1518  soldi  18  15 .3 .2  1-  s 18 

E de  dare  per  la  ttasa  e ttorchietto  delano  1519  soldi  18  1 - s 18 

E de  dare  per  la  tassa  e torchietto  del  ano  1520  soldi  18  1—  s 18 
Posto  debi  avere  in  questo  c 505 
E de  avere  a di  8 di  novenbre  1518  soldi  sei  tutto  e detto 


aentrata  di  lorenzo  bochi  camerario  c 16  1 — s 6 

E de  avere  soldi  18  sono  perche  fu  del  nostro  chonsiglio 
gienaio  febraio  marzo  e aprile  1519  1-  s 18 

E de  avere  a di  8 di  novembre  1519  soldi  6 aentrata 
di  gieri  ciofi  camerario  c 8 1 - s 6 

E de  avere  a di  30  daprile  1520  soldi  18  per  esere 
istatto  chonsigliere  4 mesi  passati  1 - s 18 

E de  avere  a di  novenbre  1520  soldi  6 tutto  e 

detto  aentrata  di  bernardo  del  maestro  gerdo  camerario  1 - s 6” 


[Idem,  idem,  c.  416.] 

45.  Continuation  of  the  same. 

“Andrea  di  marcho  della  Robbia  de  avere  addi  primo 

di  settenbre  1509  soldi  XVIIJ  per  essere  istato  del  nostro 

chonsiglio  1 1 1 J mexi  chomiciati  addi  detto  di  sopra  1 - s xviij 

E de  avere  lire  1 soldi  1 denari  VIIJ  posto  gli  debbi  dare  in 

questo  c 291  per  resto  di  per  el  chonto  li  si  di  vii  j 

E addi  VIIJ  di  novenbre  1510  soldi  VJ°  da  entrata  di  jacopo 

di  Stefano  Rosegli  nostro  kamerario  (c)  26  1-  s vj° 

E de  avere  per  esere  stato  del  nostro  chonsiglio  IIIJ0  mesi 

chominciati  addi  primo  di  maggio  1511  1-  s xviij  d- 

E addi  8 di  novenbre  1511  soldi  6 per  il  tutto  di  questo  anno 

da  entrata  di  andrea  di  marcho  della  robia  c io  1 - s vi0  d- 

E de  avere  per  esere  stato  del  nostro  chonsiglio  mesi  IIIJ" 

chominciati  addi  primo  di  settenbre  1512  1-  s xviij  d — 

E addi  8 di  novenbre  1514  soldi  VI  a entrata  di  francescho 

de  bellacino  1 - s vj 

E de  avere  soldi  diciotto  per  esere  istato  del  chonsiglio  4 

mesi  chominciati  a di  primo  di  settenbre  1513  1 - s 18  d- 


INTRODUCTION 


XXXI 


Mori  a di 
4 dagosto 

1525 


E de  avere  soldi  diciotto  per  esere  istato  del  chonsiglio  4 
mesi  chominciati  a di  primo  di  settenbre  1514  1-  s 18 

E de  avere  lire  sette  soldi  19  denari  2 per  suo  servito  istato 
nostro  camerario  per  4 mesi  chominciati  a di  primo  di 
gienaio  1514  1 7 s 19 

E de  avere  soldi  18  perche  lui  e stato  del  nostro  chonsiglio 
4 mesi  chominciati  a di  primo  di  settenbre  1515  1-  s 18 

E a di  8 novenbre  1516  soldi  6 a entrata  di  andrea  ciofi 
camerario  15.6.10  c 7 1 — s 6 

E de  avere  soldi  18  sono  perche  fu  sindacho  a sindichare 
Entrata  di  giovani  di  cristofano  1-  s 18 

E de  avere  soldi  18  perche  fu  del  nostro  chonsiglio  di 
gienaio  1517  1-si8 

[Idem,  idem,  c.  CCCCXVj.] 


d- 

d 2 
d- 

d- 

d-” 


46.  Continuation  of  the  same. 
“Andrea  di  marcho  de  lucha 
de  dare  per  la  ttassa  e 
E de  dare  per  la  tassa  e 
ttorchietto  delano  1522  23 
a soldi  18  lano  li  s 16 


f Andrea  di  marcho  dela  robia  de 

avere  per  resto  di  una  sua  ragone 

in  questo  c 416  lire  due  soldi  5 

denari  8 e le  si  vede  achonce  tutte 

le  tasse  chorse  per  tutto  lano  1 520  1 2 - 5 - 8 

E de  avere  adi  31  di  dicenbre  152J 

soldi  dicotto  perche  fu  del  nostro 

chonsiglio  4 mesi  passati  1-  18 

E de  avere  a di  8 di  novenbre  152] 

soldi  6 per  suo  ttorchietto  di  detto 

ano  a entrata  di  francescho  santini 

nostro  kamerario  c 18  1-6 

E de  avere  a di  31  dagosto  1522 

soldi  18  per  eser  istato  del  nostro 

chonsiglio  4 mese  passati  1 — iS 

E de  avere  a di  31  dagosto  1523 

soldi  18  per  eser  istato  del  nostro 

chon  siglio  4 mese  passati  1 - 18 

E de  avere  a di  8 di  novenbre  1523 

soldi  6 pel  suo  torchietto  antrata 

di  fìlipo  lorenzi  nostro  kamerario  c 7 1 - 6 

E de  avere  a di  30  daprile  1524 

soldi  18  per  ser  istato  del  nostro 

chonsiglio  4 mesi  passati  1-  18 

E de  avere  soldi  18  per  esser 

istato  sindacho  dela  nostra  arte  1 - 18 

E a di  30  daprile  soldi  30  sono  per 


xxxii  INTRODUCTION 

1 i - io 


1 - 18 


1-  6” 


Andrea  di  marche»  della  robbja  de  dare  adi  25  dj 

novenb(r)e  1482  sol.  dieci  p(er)  partito  universale  - 1-  s 10 


MCCCCLXNII 


Andrea  di  marcilo  della  robia  Itagliatore  de  avere 
sol  sej  paghati  p.lla  grazia  a pierò  Zucherj  k°  a 

sua  entrata  c.  17 

E de  avere  adi  8 dottobre  1472  sol.  cinque  paglie 
chotantj  p.lla  oferta  di  dett°  anno  a pièro 

1 - s 6 

zucherj  k°  a sua  entrata  c.  16 
E de  avere  sol.  cinque  dj  4 pagho  chontantje 
andorono  I chasetta  cliome  alluscitta  va  fuorj 

1 - s 5 

di  sua  mano  sono  p(er)  parte  della  sovenzione  dellarte 
E de  avere  insino  adi  il  di  luglio  1472  sol.  uno 
dj  quatro  messi  I chasetta  cliome  alluscitta 

1 - s 5 

dj  4 

andava  atomo 

E de  avere  adj  24  daprile  sol.  due  dj  8 pagho 

1 - S I 

dj  4 

once  6 di  pepe  e per  rimettere  a 
marioto  donzelo 

E a di  30  di  dicenbre  1524  soldi  18 
per  ser  istato  del  nostro  chonsiglio 
4 mesi  passati 

E a di  8 di  novenbre  1524  soldi  6 
antrata  di  balomeo  di  baldino 
nostro  kamerario  c.  6 

[Idem,  idem,  c.  505  and  CCCCV.] 

47.  Accounts  of  Andrea  with  the  Compagnia  di  S.  Luca  o l'Arte  della 
Pittura. 

“MCCCCLXXII 

Andrea  di  macho  della  robia  Itagliatore  de  dare 
p(er)  la  grazia  fatta  adi  17  di  giugno  1472 

dogni  debit0  p(er)ìsino  adi  p°  di  luglio  1472  sol.  vj  1 — s 6 — 

E de  dare  p(er)  la  of  erta  del  dì  di  s°  lucha  adi 

8 dottobre  e p.llo  dett0  anno  1472  sol.  cinque  1 — s 5 — 

E de  dare  p.lla  sovézione  deluogho  e arte  e 
p(er)  ogni  anno  sol.  sedicj  paghando  ogni  mese 

sol.  i°  dj  4 e da  chomiciare  adi  p°  di  luglio  1472  1-  s 16- 

E de  dare  p.lla  ì posta  fatta  el  dì  di  s°  lucha  adi  8 
dottobre  1472  sol.  cinque  p(er)  pagliare  e penonj  de  tronbette 
E de  dare  p.ll  (this  entry  was  left  unfinished.) 


INTRODUCTION 


xxxiii 

al(l)ib(r)o  della  sovenzione  c.  3 a entrata  di  Bonaiuto  k°  1-  s.2  dj  8” 

1 .0.4 

[Archiv.  di  S.,  Compagnia  di  S.  Luca.  Libro  Deb.  e Cred.  1472-1520, 
segnato  Arti  27,  Cod.  2,  c.  12*,  13.] 

48.  Andrea  was  Camarlingho  of  the  Compagnia  di  San  Luca  in  1472. 
The  records  of  the  Compagnia  di  San  Luca  give  an  account  of  the  candles 

offered  on  the  day  of  S.  Maria  Candellaia.  The  four  capitani  gave  candles 
valued  at  4 denari  each  ; the  Counsellors  and  Andrea  di  Marco  della  Robbia 
as  Camarlingho  offered  candles  worth  3 denari  each,  while  the  thirty-two 
remaining  members  gave  candles  valued  at  2 denari  each. 

[Arch,  di  Stato.,  Libro  Rosso  della  Compagnia  di  San  Luca,  c.  144'; 
Horne,  Botticelli,  30,  347  (Doc.)  ; Burl.,  Mag.,  Oct.,  1915,  5.] 

49.  Concerning  rental  of  house  in  the  Via  Guelfa  to  Marco  and  Luca 
della  Robbia  1447. 

“Ricódo  chome  adj  9 digenaio  1467  cu  licètia  del  chap  (ito) lo  lucha 
dellarobia  se  dice  la  ifrascripta  chasa  mavillare  a vita 
di  mò  fràcescha  dimàcho  disimone  roghato  s(er)  domenicho 
dant°  da  fighinj  e pagho  f dua  là  anta  (aentrata) 

al(l)ib(r)o  s(ig.)bb  c.  36 In  S4 

Marcho  di  Simone  della  robia  de  dare 

p(er)  aviilare  duna  chasa  cù  orto  posta  i via 

guelfa  còdotta  p(er)  se  e suoj  figliuolj  adj  11  (31?) 

(dagosto?)  1446  roghato  p(er)  jacopo  daromena  chome 

appare  ì questo  c.  75  paglia  lano  1 diecj  s.  otto 

e p(er)  resto  di  detto  avillare  p(er)  tutto  ottob(r)e  1461 

1 16  s tre  i questo  a detta  ca(r)ta  c 75  — 1 16  s 3 

Posta  allibro  rosso  S.  A c.  264” 


[Archiv.  del  Rev.do  Capitolo  di  Firenze.  Specchio  di  Livellari,  S'°  A, 
1437-1461,  c.  136.] 

50.  The  house  in  the  Via  Guelfa,  from  July  2,  1485  is  rented  to  Andrea 
della  Robbia. 

“Via  Guelfa  + Mcccc°LXXIIIJ° 

Marcho  et  Lfrateglj  et  fìgluolj  di  Simone 
Lucha  J della  robbia  cleono  dare  1 diecj 
et  s otto.  Sono  p(er)  avjllare  duno  anno 
icomlciato  adi  p°  di  novèbre  1473  et 
finito  come  seghue.  Duna  casa  con 


XXXIV 


INTRODUCTION 


corte  et  orto  grande  didrieto  . Posta 
in  via  guelfa  nel  pplo  di  scó  lorenzo 
in  firenze  con  sue  mjsure  vocabolj 
et  confìnj  Come  appare  alcàpione 
del  cap  (ito)  lo  c 24  laquale  condussono 

in  aviilare  adi  1 1 di 1446.  Rogato 

Ser  Jac°  di  Ser  Ant"  daromena 
E paghano  lamio  davjallare  dette 
1 diecj  et  s otto  levatj  dallo  spechio 

deglj  avjllarj  S.  A.  c 136  1 io  s 8 dj 

Et  deono  dare  1 vèti  et  s sedici  p(er) 
avj Ilare  dànj  dna  finiti  p(er)  tutto 

ottobre  1476 1 20  s 16  dj 

Et  deono  dare  1 vétj  s sedicj  p(er)  avillare 

danj  dna  finiti  p(er)  tutto  ottobre  1478 1 20  s 16  dj 

Et  deono  dare  1 septantadua  s 16  p(er) 
avillare  dannj  septe  fìnitj  p(er)  tutto 

octobre  1465  della  sopradetta  chasa  1 72  s 16  dj 

124  16 

Nota  chome  addi  2 di  luglio  1485 

Simone  di  Marco 

dellarobbia  fratello 

dandrea  della  robbia  in 

p(re)sentia  di  tutto  elcap(ito)lo  renuntio 

p(er)  et  sua  descendentj  p(er)  linea 

maschulina  et  cedette  ogni  suo 

ragone  di  livello  havessj  nella 

sopradetta  chasa  a Andrea  della 

robbia  suo  fratello  co  licentia  et 

auctoritate  di  Messer  gorgo  datj  et  M (esser) 

Rinierj  Ghuiccardinj  comissarij  elettj 
dalcap(ito)lo  a questo  acto  particolare  come 
di  loro  còmissione  apparisce  p(er)  còtratto 
rogato  p(er)  Ser  domenicho  dafigline  notaio 
inveschovado  sotto  di  20  di  gugno 
px°( proximo)  passato  et  detto  dj  2 
di  luglio  suddetti  e dettj  còmissarj 
concederono  al  detto  andrea  la 
detta  chasa  riconducete  p(er)  se 
e p(er)  la  sua  linea  maschulina  et 
dis(cendent  j ) se  p(er)  alchuno  capo  (caso) 
lasopradetta  chasa  fusse  schaduta  et 


INTRODUCTION 


XXXV 


ritornata  al  detto  càplo  et  p(er) 
recognitione  della  sopradetta  casa 
dette  et  pago  a S(er)  frane"  di  Stefano 
distribuitore  di  detto  cap  (ito)  lo  f diecj 
lar.  doro  inoro  come  appare  alla 
sua  entrata  sto  n n c 41  et  promisse 
detto  andrea  pagare  e livello 
còsueto  come  di  tutto  appariscile 
alibr  sto  c 73” 

In  margine  : 1 io  s 8 
“Andrea  dimarcho'  della  robbia  de  dare 
adj  31  dottobre  i486  1 diecj  s 8 della 
soprascripta  casa  laquale  ricódusse 
p(er)  se  et  p(er)  sua  linea  maschulina  adi 
dua  diluglio  1485  come  apare  p(er)  nota 
q di  sopra  et  depagare  ogi  ano 
el  medesimo  avillare  eoe  1 io  s 8 et 
po(pero)  si  pone  debitore  detto  andrea 

sono  p(er)  uno  ano  passato  adj  31  dottobre  i486  - — 1 io  s 8- 
Et  de  dare  1 dua  s 17  dj  8 p(er)  resto  davillare 
p(er)  tutto  ottobre  1485  postj  marcilo  et  luca 

della  robbia  debbino  avere  adirinpetto  1 2 s 17  dj8 

Et  de  dare  1 cinquantadua  p(er)  avillare  danj  5 

ì comiciatj  adi  p(er)  dinovébre  i486  et 

finitj  adj  ultimo  dottobre  1491  — . — 1 52“ 

[Archiv.  del  Revd0  Capitolo,  Libro  Maestro  Rosso  A +,  1474-1490, 
c.  263*,  264.] 

51.  Credits  on  account  of  house  in  Via  Guelfa. 

“+Mcccc°LXXIIIJ° 

Marcilo  et  1 frateglj  et  figluolj  di  simone 

Lucha  J della  robbia  contrascritti  deono  avere  adi 

26  daprile  1475  1 cinque  et  s undicj 

pagho  contati  Simone  di  marcilo 

detto  p(er)  pte (parte)  davjllare 

della  casa  contrascritta  messi 

aentrata  s.  f.f.  c 18  1 5 su  dj 

E deono  avere  adi  15  di  maggio 
1477  1 quattro  pagho  contanti 
Simone  sop(ra)  detto  et  p(er)  luj  messer 
frane"  rucellaj  p(er)  pte  davillare 

messi  aentrata  di  ser  Dello  s.  LL.  c 40  — I4  s — 


XXXVI 


INTRODUCTION 


E deono  avere  adì  detto  1 cìque  et 
s tredici  pagho  simone  detto  et  p(er) 
luj  da  pagnago  ridolfì  p(er)  pte 
davillare  messi  aentrata  di  ser 

Dello  s.  LL.  c 40 1 5 si, 

E deono  ave  adi  27  di  novébre 
1477  f dua  larghi  dettono  posti 

aentrata  di  ser  Ant°.  s.  mm.  c 29 — 1 1 1 s 

E adi  22  digiug”  1480  1 trentasei 
aentrata  di  ser  ant°  s( segnato) 

pp  c 29  1 36  s 

E adj  28  di  Gennaio  1481  1 cinque 
s 17  pago  locha  aentrata  di 

s ant°  s qq  c 27 1 5 s 1 

E dadj  p°  dagosto  1482  p(er)  insino 
adj  30  dj  maggio  1483  1 venti 

s tredicj  picciolj  alib  s rr  c 40  — 1 20  s 

E addj  14  dagosto  p(er)  insino  adj  8 di 
Gennaio  1484  1 undicj  s 17  dj  4 

p(er)  entrata  di  S frane0  st*att,  c.  31  1 11  s 

E adj  5 dag°  1436  f dua  larghi  dò 
ino  p(er)  luj  dabenedetto  ghorj  eh  di 
tantj  si  trae  s 7 spesi  I veschovado 
restano  1 11  s 17  aentrata  Sa( segnata) 

xx  c 29 Ills 

E adj  23  di  gènaio  i486  1 nove  s 4 
pago  simone  dellarobbia  p(er)  uno 
resto  tocchava  adetto  simone  p(er) 
luj  damatteo  daterra  rossa 

aentrata  S xx  c 29 — 1 9 s 

E deono  avere  1 dua  s 17  dj  8 

sono  p(er)  resto  di  q°  ragone  posto  andrea  della  robbia 
debba  dare  aldirinpetto  pch (perchè) 
ladetta  casa  dice  I luj  come  apare 

p(er)  nota  aldirinpetto  r — — - 1 2 s 

124  16  o 


Andrea  di  marcilo  dicont"  de  avere 
dadj  27  di  settemb  1487  i sino  adj 
3 dj  marzo  1487  1 dicotto  s 12 

aentrata  S“  xx  c 32 

E dadj  31  digènaio  1488  i sino  adj 


d 
i d 

7 d 

:3  d- 
7 d 4 

7- 

4- 

i 7 dj  8 


1 18  s 12  dj 


INTRODUCTION 


XXXVll 


29  di  mag°  1489  1 quìdicj  s 15  dj  8 

aentrata  Sa  zz  c 32  1 15  s 15  8 

E dadj  27  di  novemb 

1489  isino  adj  8 dimarzo  1489  1 diccj 

s 8 aentrata  S“  3 a c 39  1 io  8 — ” 

[Archiv.  idem,  idem,  c.  CCLXIIJ-CCLXIV.] 


52.  Credits  on  account  of  house  in  the  Via  Guelfa. 

“+yhs  MDxxxj0 

Andrea  di  marcho  della  Robbia  dicontro  de  avere 

addj  13  di  dicembre  1532  1 sei  recho  filipo  della  robja 

aentratta  18  Cas(sa)  c 205  1 6- 

E addj  22  digenaio  1 dieci  s viii  recho  ridolfo 

diac°  aentratta  20  Cas(sa)  c 210  1 io  . 8- 

E addj  26  daghosto  1534  1 x s vii j p(er)  lui 

da  ma  lisabetta  di  lucha  aentratta  47  a chassa  C257  I10.8- 

R(Richordo)  E avere  p°(posto)  dare  allibro  n0(nero) 
f a c 58  p°  detto  libro  dare  (inquesto)  c 297  1 14  . 16 

1 41  . 12 

[Archiv.  del  Rev.d0  Capitolo  di  Firenze.  Libro  Maestro  Rosso  E,  1531- 
1534,  c.  LXXVIIj  ; also,  L’Arte,  1918,  192  no.  6.] 


53.  Credits  to  account  of  house  in  the  Via  Guelfa. 

“+yhs  MDXXXIIIJ0 

“Andrea  djmarcho  dellarobia  dj  chòtro  de  avere 
addj  5 dj  djcenbre  1534  1 vij  p(er)  lui  dafilippo 
di  Gni  e p(er)  lui  dadonh0  schultore  aentratta  c 4 
a chassa  c 191  1 7 s 

1535  E addj  ij  di  marzo  1 xij  - p(er)  llui  daridolfo 

dj  yac°  de  mozzi  aentratta  36  a ca(chassa)  c 284  1 12  s- 

E addj  detto  lv-sxp(er)  llui  da  Lzo  altovitj 

aentratta  c 36  a chassa  a c 284  1 5 s 10 

E addj  8 di  novenbre  1537  1 sette  pago 

tommaxo  di  Ldo  altovitj  aentratta  76 

a chassa  a 367  1 7 s- 

R E de  avere  posto  dare  allibro  pagonaxo  st0 

g 38  p°  detto  libro  dare  ! q°(questo)  c 412  1 25  s 5 

1 56  • • 15 

[Archiv.  idem,  Libro  Maestro  Nero  F,  1534-1538,  c.  LVIII;  also  L’Arte, 
1918,  192  no.  7.] 


INTRODUCTION 


xxxviii 


54.  Concerning  rental  of  house  in  the  Via  Guelfa. 


“yhs  MDXXXXIIIJ0 
In  margine  : 1 10  - 8 
“Andrea  dimarcho  dellarobia  nrò 
livellario  duna  chasa  posta  in 
via  ghuelfa  dellaquale  ci  debba  1550 

pagliare  ogniano  lx  sviii  p (piccioli) 
in  dj  3 dottobre  de  dare  addj 
IJ  di  novenbre  1544 


Richoncessa  alinea  agirolamo 
dandrea  dellarobia  a sua  linea 
maschulina  chome  in  suo  chontto 

si  dice  in  q° 371 ” 

[Archiv.  idem,  Libro  Maestro  Rosso  H, 


cxxx 

“ +yhs  MDXXXXIIIJ0 
Andrea  dimarcho  dellarobia 
dichontro  de  avere 


E addj  21  di  gug°  1330 
1 LVIJ,  s 11  dj  VIII  p 
e p(er)  luj  da  gmo  suo  fig’° 
e p(er)  luj  dalfonsso  della  chasa 
camarlingho  dell  arcivescho- 
vado  r°(reco)  el  suo  fig'° 
chontantti  aentrata  1 1 1 
a ca(cassa)  374  1 57  s 2.8 

E adi  6 daghosto  lxiii 
s xiiii”  dj  viii  p r° 
gmo  suo  fig'°  aentrata 

1 12  a c”  378  1 13  s 14.8” 

1544-1553.  c.  3°  and  c.  xxx.] 


55.  Tax  return  of  Simone  di  Marco  della  Robbia  1427. 

“Gonfalone  chiavj  Quartiere  S giovanj  (1427) 

A di  io  di  luglio 

Questa  e la  rechata  di  Simone  dimarcho  della 
robbia  e de  figliuoli  prestanziatj  jn  decto 
gonfalone  jn  fiorili)  quatro  soldj  quactordiej 

e danarj  cinque  a oro f 4 sol.  14  dj  5 

In  prima  una  chasa  dallavoratore  co  palchj 
sala  camera  e terreno  posta  nel  pplo 
di  santa  maria  dal  tartagliese  valdarno 
disopra  contado  di  firenze  nel  luogho 
del  tartagliese  nella  strada  publica 
confinata  da  primo  decta  strada  a ij 
via  a iij°  Niccholo  di  giovannj 
del  bellaccio  a iii j°  Marcho  del  bello 
del  bellaccio 

Item  una  chasecta  posta  dirietro 
alla  sopradecta  chasa  che  sene 
fa  la  stalla  da  bestia  posta  nel 
decto  pplo  e luogho  confinata 
a j°  via  a ij"  filippo  di  firenze 
del  pancia  a iij°  via  a iiij"  lerede 
di  pierò  terj  cogli  jnfrascrictj 


INTRODUCTION 


XXXIX 


pezzi  di  terra  cioè 
Uno  pezo  di  terra  lavoratia  di 
staiora  cinque  a grano  posto  nel 
decto  pplo  luogo  decto  alla  tavolaia 
a j°  via  a ij"  Marcho  del  bello  bellaccij 
a iij°  filippo  di  firenze  del  pancia 
a iiij"  di  simone  di  marcho  sopradecto" 


(Here  follow  declarations  of  18  other  parcels  of  land  in  the  same  vicinity 
and  covering  a total  area  of  staiora  48^2  all  under  cultivation  except  one 
small  parcel  which  is  described  as  “rovinata  e coduta  nel  fiume  damo.'  ) 

“Rendono  tucte  le  sopradecte  terre  ogni  anno  Inno 
anno  pelatro  ristorando 


Staia  sexanta 
Barili  diecj 
Staia  diecj 
Staia  dodicj 
Staia  sej 
Staia  sej 
libre  dieci 


di  grano 


di  vino 
dorzo 
di  sagina 
di  miglio 
di  panicho 
di  lino  grosso 
Uno  paio  di  chapponj  libre  250  di  carne  di  porco 
Serque  cinque  di  uova 

Lavora  le  sopradecte  terre  soprascricte  Marcilo  di 
berto  daltartagliese  debacj  dare  fiorili j diecj  — f io  — 

Item  abbiamo  jn  sul  decto  podere 

uno  paio  di  buoj  di  stima  di  f diecj 
una  asina  di  stima di  f tre 


di  stima  jn  tucto 
di  f diecj 


cinque  porcj  grandicelli 
una  troia  con  secte  porcellinj 
delle  qualj  buoj  e bestie  nabbiamo  avere  la  meta 
Item  una  chasecta  posta  jn  chastello  san 
giovanj  valdarno  di  sopra  luogo  decto  via  di 
rachasolj  confinata  a j°  dea  via  a ij'1  rede  di 
lucha  di  jacopo  a iij"  francescho  di  India  a iij" 
chiasso  la  decta  chasetta  tiene  a pigione 
francescho  di  lucha  salci j di  chastello  san 
giovanj  e debbacj  dare  di  pigione  lano  fiorino 

uno  d(oro)  fi  — 

Item  uno  pezo  di  terra  vignata  e pte  lavoratia 
di  staiora  quatro  a grano  posto  nella  corte  di 
chastello  sangiovannj  valdarno  di  sopra  loco  decto  alla 
fossa  corboli  confinato  a j°  via  a ij°  e iij°  an ton  io  di 
girolamo  a iiij 0 checcho  di  macteo  spadaio 


xl 


INTRODUCTION 


Item  uno  pezo  di  terra  vignata  di  staiora  due  a 

grano  posta  nella  decta  corte  loco  decto  fossato  ala 

villa  a j"  e ij°  via  a iij°  e a iiij0  Messer  palla  di  nofri  degli  strozi 

Item  uno  pezuolo  di  terra  che  non  e se  non  e macchie 

di  pruni  di  meno  duno  staioro  posto  nella  decta 

corte  luogho  decto  nel  fondale  a j°  via  a ij°  benj 

della  pieve  di  chastello  san  giovanj  a iij°  e a iiij0 

ser  Masso  di  ser  pierò  di  ser  Masso 

E sopradectj  tre  pezi  di  terra  tiene  a fleto  da  noj 

Antonio  di  conte  da  chastello  san  giovannj  e danne 

di  fleto  lire  sedicj  p(icciole)  - — 1 16  — 

Item  uno  podere  con  chasa  da  signore  e 
dallavoratore  con  terre  lavoratie  alborate 
vignate  e con  p(er)gole  e con  alberj  fructiferj 
e non  fructiferj  posto  nel  contado  di  fìrenze 
nel  pplo  dj  san  tomme  a baroncellj  loco  dcó 
a baroncellj  confinato  a j°  lerede  di  francescho 
di  duccio  mellinj  via  jn  mezzo  a ij°  filippo  di 
simone  e jl  fratello  fossatello  jn  mezo  a iij° 

Maso  davizj  a iiij0  via 
Item  uno  pezo  di  terra  lavoratia  e alborata 
apartenente  al  decto  podere  di  staioro  uno  a 
grano  posto  nel  dcó  pp  loco  dcó  alcanpuccio 
a j°  e ij°  via  a iij°  e ii j°  lerede  di  cante  p(er)uzi 
fossatello  jn  mezo 

Item  uno  pezo  di  terra  lavoratia  apartenente 

al  dcó  podere  di  staiora  uno  a grano  posto 

nel  dcó  pplo  loco  decto  ritortolo  a j°  via  a ij" 

e iij°  lerede  di  cante  peruzj  fossatello  jn  mezo 

a iiij0  lerede  dj  francescho  mellinj  fossatello  jn  mezo 

Rende  il  sopradecto  podere  Inno  anno  ristorando 

laltro 

Staia  trenta  di  grano 
Barilj  quaranta  di  vino 
libre  diecj  di  lino  grosso 
fructe  f dve 
due  paia  di  chapponi 


INTRODUCTION 


xli 


Serque  diecj  duova 

Lavora  il  sopradecto  podere  Bartolo  di  jacopo 
vocato  Bartolo  delladina 

Item  una  chasa  posta  nella  citta  di  firenze  nel  pp 

di  san  pierò  maggiore  nella  via  che  si  chiama 

via  degli  albertineglj  e riesce  nella  via  di  san  gilio 

confinata  da  primo  via  degli  albertineglj  a ij°  dello 

spedale  di  santa  maria  a iij°  dellerede  di  maso  di 

Ugho  deglialessandrj  a iiij”  via  di  san  gilio  la  decta 

chasa  a tenuta  e tiene  la  meta  una  Mò  Nera 

vedova  pellamore  di  dio  già  sono  annj  ventj  e 

più  e maj  noncene  a data  nulla  laltra  meta 

abbiamo  apigionata  del  mese  daprile  pximo 

passato  a ugholino  di  messer  giovannj  e non 

sene  a facto  pacto  ninno  credano  cene  dara 

fiorinj  tre  lanno  o circa  pero  che  nò  vale 

tuctadecta  casa  fiorinj  sessanta  — - f tre  — f iij 

Item  debbe  avere  Simone  p(ro)prio  dalle  jnfrascricte 

p(er)sone  le  jnfrasricte  quantità  cioè  da 

Corso  di  giunta  tintore  che  a fallito  lib.  XXVIIIJ0 

Bernardo  baldovinj  che  e nelle  stinche  — lib.  XV  — 

Mino  di  borgianj  tintore  fiorinj  tre  — f.  IIJ0  — 

Ione  di  ser  Macteo  conciatore  — lib.  XIII J° 

Jacopo  di  antonio  di  bartolo  mal(  ?) 

di  vai  di  sieve  f octo  d(oro)  f VIIJ  — 

Simone  di  benvenuto  schardassare  — lib.  V 

Item  deve  avere  S(er)  giovannj  di  simone  p(ro)prio  da 
Messer  francescho  di  sandro  chanbinj  p(er)  carte  fiorinj 
quatro  lib.  cinque  sol  sedicj  piccioli  f 4 lib.  5 sol  16 
francescho  e giustro  di  cino  di  cino  da  citina  vecchia 
e Ma  Bartolomea  loro  madre  fiorinj  sexanta  danegli 

(gliene  dà)  pella  meta  volentieri  f 60  d(oro) 

M°  papera  figluola  fu  di  lenzone  di  simone 
ghalighaio  e donna  del  decto  S giovannj  p(er) 
resto  di  dota  fiorinj  cento  diecj  doro  — f no 

S(er)  Bonacchorso  di  pierò  bonacchorsj  f 3 

Incharichi 

Simone  di  marcho  sopradecto  deta  dànj  — 84 
Mtt  Margherita  dona  dello  decto  simone  danj  — 65 

Marcho  di  simone  dànj  42 

S(er)  giovannj  di  simone  dànj  33 

lncha  di  simone  dànj  27 


xlii 


INTRODUCTION 


M°  papera  donna  del  decto  S(er)  giovanj  dànj  — 26 

pulisena  figluola  di  S(er)  giovanj  nacque  adj  p"  setèbre  1427 

Abbiamo  a pigione  una  chasa  con 

sale  palchj  camere  terreno  corte  cucina 

e volta  e pozo  nella  quale  noj  abitiamo 

dentrovj  nostre  masseritie  posta  nel 

pp  di  san  pierò  maggiore  nella  via  di 

san  gilio  confinata  a j"  via  decta  a ij°  Stefano 

di  salvj  a iij"  simone  di  salvj  a iij°  rede  di 

giovànj  di  salvj 

La  decta  chasa  e dellerede  di  Giovannj  di 
Salvj  paghianne  di  pigione  fiorinj  dicianove 

doro  lamio  f XVIIIJ0 

Item  abbiamo  a dare  aglinfrascrictj  huominj 
e p(er)sone  le  infrascricte  quantità  di  danarj  cioè  a 
Sindachi  del  ghonfalon(e)  delle  chiavj  — - f xxij 

Comune  di  firetize  per  prestanzonj  — - f xv 

lorenzo  e Bernardo  di  benino  linaiuolj  — f lxx 

Tomas(s)o  Bartolj  ritagliatore  e conp(agni) — f lxx 
Macteo  rondinegli  e conp(agni)  ritagliatore  — f xxx 
Item  devono  dare  a 

La  ghabella  del  vino  p(er)  una  p(ro)  messa  — f xxx 
Bernardo  de  bardj  e con(pagni)  orafi  — f xv 
Pagliolo  di  S(er)  giovan(n)j  spectiale  — f xviij 
Priore  risalitj  e conp(agni)  ritagliatore  — f vii j 
francescho  di  pierozo  della  luna  — f lxj 

Item  deve  avere 

M°  papera  donna  del  decto  s(er)  giovannj  dellerede 
di  Benedecto  di  S(er)  francescho  del  Maestro  pierò 
fiorinj  dugento  o circa  p(er)  resto  della  sua  dota 
e qualtj  sanno  (si  hanno)  a piatire  po(pero)  sono 
in  diferenza  de  qualij  na  (ne  ha)  a dare  al  decto 
s(er)  giovanili  )j  fiorinj  cento  diecj  chome  dette  di 
sopra  in  questa  scrita  Se  si  rischonteran(n)o  gli 
raporteremo  alla  vostia  Signoria 
Item  mi  tru(ovo)  jo  giovannj  sopradecto  tantj 
tra  li  brj  e jnbreviature  che  gli  fanno  f xxv” 

[Arch,  di  Stato.  Archiv.  delle  Decime,  Anno  1427.  Quartiere  di  San 

Giovanni,  Gonfalone  Chiavj,  segnato  No.  59,  c.  976-979' ; M.,  L.  d.  R.. 

XXXII,  Doc.  1.] 

On  the  back  of  c.  981  is  written  the  following: 

G°  chiavj  adj  io  di  luglio  (1427) 


INTRODUCTION 


xliii 


Simone  dj  marcho  dellarobia  e figluolj  f 4 
f 4 sol  14  dj  5 n°  e.  6 
Messo  allibro  c.  532  R 

56.  Simone’s  tax  return  of  1430. 

“Quartiere  S Giovanni 
Gonfalone  cliiavj 

Questa  e la  rechata  di  Simone  di  marcho 
dellarobbia  e de  fìgluoli  e chatastatj  In 
detto  Gonfalone  In  fìorinj  uno  — fi 

In  prima  una  chasa  dallavoratore  etc,  etc 

(Omitted  portions  are  repetitions) 


Incharichi 

Simone  dimarcho  sopradecto  deta  dannj  87 

Mò  Margherita  donna  del  decto  Simoni  — dannj  68 
Marcho  di  simone  deta  dannj  — 42 

Ser  Giovannj  di  simone  deta  dannj  — 36 

Lucha  di  simone  deta  dannj  — 30 

M5  Antonia  donna  del  decto  marcho  deta  dannj  30 


filippo  figluolo  del  decto  Marcho  di  mesi  due  e mezo” 
[Archiv.  delle  Decime,  Qre  San  Gio.  Chiavi,  filza  386,  c.  734.] 

57.  Simone’s  tax  return  of  1433. 

“Gonfalone  cliiavj  Quart'  s Johl 
Questa  e la  rechata  di  Simone  di  Marcho  della 
robbia  e de  fìgluoli  chatastatj  In  decto  Gonfalone 
In  soldi  sedicj  e dj  tre  a oro 
In  prima  una  chasa  dallavoratore  etc  etc 


Incharichi 


Simone  di  marcho  sopradetto 

danj  — 

89 

Mò  Margherita  sua  donna 

danj  — 

70 

Marcho  di  simone 

danj  - — 

46 

Mò 

Antonia  sua  donna  — - 

danj  — 

20 

Checcha  figluola  del  dcò  marcho  — 

dannj — 

1 

Jacopo  figluolo  del  dcò  marcho  — 

dannj — - 

1 

Ser 

Giovannj  di  simone  — — 

dannj — 

39 

Mò 

Nanna  sua  donna  — — 

dannj  — 

19 

Lucha  di  simone  — — 

dannj  — 

33 

Tegnano  a pigione  una  chasa  laquale  e dellerede 
di  simone  di  salvi  di  filippo  posta  nel  pp  di 
sanpiero  maggiore  di  firenze  nella  via  di  sangilio 


xliv 


INTRODUCTION 


nellaquale  habitano  paghianne  lamio  di  pigione 
f dicanove  doro f 19  — doro 


Truovasi  Marcho  di  simone  debito  (re)  In  sulla 
bottega  dove  e conpagno  con  Agnolo  di  ser 
Martino  lanaiuolo  per  saldo  facto  fiorinj  ottanta 
quatro  et  soldj  quatordicj  a f — f lxxxiiij  sxiiij  a f — ” 

(Omitted  portions  are  repetitions) 

On  the  back  of  the  declaration  is  written 
Ge  chiavj 

Simone  di  marcho  dellarobia  s 16  dj  3 
Richordo  adj  31  dj  mag(gio)” 

[Idem,  idem,  filza  479,  c.  583.] 

58.  Tax  return  of  Andrea’s  father  Marco  di  Simone,  1442. 

“O.  S.  Giovanj  G.  chiavj 

Marcho  di 
Simone  delarobia 
c 290 

Dinanzi  davoj  Signorj  uficialj  della  conservatione  et (a 

word  written  and  canceled  illegible)  aumentatione  delle  nuova  gra- 
vezza della  citta  di  firenze  si  rapporta  le  substanze  et  benj  dj 

Marcho  di  simone  di  Marcho  della  robbia  lanaiuolo  aprestanziato 
nella  presente  distribuzione  della  cinquina  nel  gonfalone  delle  chiavj 
In  f uno  soldj  nove  dj  uno  aoro fi  s 9 dj  1 


Incharichj 

Tengho  una  chasa  apigione  p mio  habitare  Insieme  còlucha  mio 
fratello  posta  nelpp  di  Sanpiero  Maggiore  laquale  e dantonio  ditadeo 
deglj  albizj  et  ciane  lano  f vétj  doro  f 20 
Bocche 


Marcho  decto  .... 

danj 

56 

Mò  antonia  sua  dona  — 

danj 

3 2 

andrea  suo  figluolo 

danj 

7 

checcha  sua  figla 

danj 

11 

Simone  suo  figlò 

danj 

4 

pagholo  suo  figlò 

danj 

2 

[ Archi v.  d.  Stato,  Portata  al  Catasto  di  Marco  di  Simone  della  Robbia 


INTRODUCTION 


xlv 


dell’  anno  1442,  segnato  Archiv.  delle  Decime,  Quartiere  San  Giovanni, 
Gonf.  Chiavi,  filza  627,  c.  332.] 

59.  Tax  return  of  Ser  Giovanni  di  Simone,  1442. 

S(er)  Giovan j di  Simone 
di  Marcho  delarobia 
c 256 

“O  s.  Giovanj  G.  chiavj 

Dinanzj  davoj  Signorj  uficialj  della  conservatione  et  aumentatione 
della  nuova  graveza  della  citta  di  firenze  si  raporta  le  sustanze  e 
benj  di 

S(er)  Giovanj  disimone  dimarcho  deIla  robbia  (above  the  line  in  origi- 
nai) notaio  fiorentino  aprestanziato  nella  presente  distribuzione  della 
cinquina  nel  gonfalone  delle  chiavj  In  f uno  sol.  nove  et  dj  uno  aoro 
— f 1 s 9 dj  1 f — 


Incharichj 

Tengho  una  chasa  apigione  p mio  abitare  dalorenzo  ditaddeo 
diristoro  posta  nel  pplo  di  santa  maria  In  campo  dirimpecto  allo- 
spedale  delle  donne  di  santa  maria  nuova  dellaquale  pagho  lano  f 

sedie j doro  et  uno  recho(?) 

Bocche 

S(er)  Giovanj  decto  danj  48 
Mò  chosa  sua  dona  danj ” 

[Archiv.  idem,  Portata  al  Catasto  di  Ser  Giovanj  di  Simone  di  Marcho 
delarobia  dell’anno  1442,  segnato  Archiv,  Quart,  e Gonf.  detti,  filza  627, 
c.  22.] 

60.  Tax  return  of  Ser  Giovanni,  1446. 

“Quartiere  s giovanj.  G.  chiavj 
Substanze  et  Incharichj  dj 

S(er)  Giovanj  di  simone  dimarcho  della  robbia  notaio  fior°  etc  etc 


Bocche 

S(er)  Giovanj  decto — danj  — 53 
Mò  chosa  sua  donna  — danj  — 30 
francescho  suo  nipote  — danj  — 4 
On  back  of  last  page  R°  Ser  giovami  j adi  26  (di  febraio)” 

[Archivio  idem,  Portata  al  catasto  di  Ser  Giovanni  della  Robbia  dell’ 
anno  1446,  segnato  Archiv.  Quart,  e Gonf.  detti,  filza  681,  c.  102.] 


xlvi 


INTRODUCTION 


61.  Tax  return  of  Marco  di  Simone,  1446. 

“Quart  S Giovannj  G.  chiavj 
Sustanze  ìcharichj  dj 

Marcho  di  simone  di  marcho  della  robbia  More  usino  (intended 
perhaps  for  usual  word  “usato”)  a dj  decini  s 15  dj  dispiacente 
f 1 s 2 dj  6 oro  dj  chatasto  f i°  p(er)  1372*  chonposizione  diceva  I 
simone  dj  marcho  dela  robia  e ne  figliolj 
* above  the  line  in  original 

Incharichj 

Tengho  apigione  una  chasa  posta  nelpolo  dj  Sanpiero  Magiore 
nela  via  alchanto  alabrigha  da  figluolj  e rede  dj  pagholo  di  ser  gio- 
vannj speziale  alangiolo  da  prima  via  e sechondo  ser  giovannj 
Mencj  a j/3  dofo  da  firenzuola  donne  (i.e  ne  do)  loro  lamio  dj 
pigione  f 13  s 6 dj  8 oro 
Bocche 


Marcho  dj  Simone  detto 

dannj 

62 

Mò  giema  mia  donna  — 

dannj 

36 

ceccha  Mia  fìgluola  — - 

dannj 

16 

Andrea  Mio  figluolo  — 

dannj 

1 1 

Simo  Mio  figluolo  — 

dannj 

9 

pagholo  Mio  figluolo  — 

dannj 

7 

Margherita  Mia  figlola  — 

dannj 

4 

O adare  alchomune  p(er)  Mia  graveza  f 30” 

On  back  of  last  page  R°  Marcho  adi  28  (febbraio) 

[Archiv.  idem,  Portata  al  Catasto  di  Marco  della  Robbia  dell'anno  1446, 
segnato  Archiv.  Quart,  e Gonf.  detti,  filza  681,  c.  409.] 

62.  Tax  return  of  the  heirs  of  Marco  di  Simone,  1451. 

“Quartiere  sco  giovannj  ge  chiavj 
Sostanze  de 

figluolj  e rede  dimarcho  di  simone  dellarobbia 
prestàziatj  in  nome  di  marcho  loro  padre  in 
ge  chiavj 

Disse  el  primo  chatasto  in  simone  di  marcho  loro  avolo  f 1 s ■ — 

Ebbono  di  decina  1447  'n  nome  di  marcho  loro  padre  f 1 s 1 dj  6 a oro 
furono  sgravati  nel  primo  sgravo  s ij  dj  vj 
restorono  in  ■ — f — s 19  d — 

ebbono  gratia  e furono  chonpostj  in  s ij  per  gravezza  e per  ricrescimento 
restano  al  presente  in  — f — s 4 — 

Una  meza  chasa  etc 
Pina  chasa  dalavoratore  etc 
Una  chasetta  etc 


INTRODUCTION 


xlvii 


19  pezzj  di  terra  etc. 

della  detta  rendita  ne  tocha  loro  la  terza  parte  elaltra 
alucha  disimone  della  robbia  loro  zio  elaltra  allaredita 
giacente  di  ser  giovannj  loro  zio 


Tre  pezi  di  terra  posti  nel  pplo  di  sanmartino  aputorno  elio  suo  vocaboli 
e confinj  chome  chiaramente  si  mostra  per  la  scritta  dandrea  di  rinaldo 
sceglitore  in  chuj  diceva  nel  primo  chatasto  nelquartiere  di  santa  ma  no- 
vella ge  lionrosso  laquale  terra  rimase  a mona  mea  donna  del  detto  andrea 
chella  prese  per  sua  dote  laquale  la  detta  mona  mea  dono  allamargherita 
fìgluola  di  marcho  della  robbia  detto  e circha  anj  dua  charta  per  mano  di 
ser  iachopo  da  romena  tenevala  a fitto  nel  primo  chatasto  domenicho  di 
chele  chalinj  per  istaia  32  di  grano  ogj  rende  meno 
grano  staia  32 

la  detta  terra  lavora  ogj  amigo  antonio  diachopo  chiamato  drappello  rende 
in  parte  staia  24  di  grano  e debbono  dare  ognàno  a detta  nT  mea  lire  otto 
mentre  chella  vive. 

Beni  alienati 

Una  chasa  posta  nelpopolo  di  sanpiero  maggiore  nella  via  deglj  albertineglj 
chòfinata  da  p°  e secondo  via  da  Rj  bartolomeo  deglialexandrj  da  j/j  v'a 
venduta  antonio  di  chorso  della  rena  per  luj  o per  chj  e nominasse  adj  6 
daghosto  1451  per  pregio  di  f quaràta  charta  per  mano  di  ser  pierò  dicharlo 
sarto 

la  detta  chasa  era  scritta  nel  primo  chatasto  in  Simone  della  robbia  e 
affittavasi  per  f 3 lanò 


Andrea 

Simone 

Pagholo 

Francescho 

Margherita 


Boche 
deta  danj 
deta  danj 
deta  danj 
deta  danj 
deta  danj 


15 

14 

12 

8 

7 


tutti  figluolj  di  detto 
Marcho  di  Simone  della  robbia 


[Arcliiv.  delle  Decime.  Quartiere  San  Giovanni,  Chiavi,  filza  717,  a.  222.] 
Note. — For  the  Taxation  of  the  heirs  of  Marco  for  1457  see  mY  Luca  della 
Robbia,  XXXVI-XXXVIT. 


63.  Tax  return  of  Andrea  della  Robbia,  1470. 

“Archivio  delle  Decime  Qre  S Giovanni  chiave 
Andrea  di  marcho  di  simone  dellarobbia  cliio  nel  primo 
chatasto  dissi  in  simone  di  marcho  e nel  valsente  del 
51  in  filglioli  di  marcho  nel  58  in  filglioli  di  marcho 


xlviii 


INTRODUCTION 


detto  nela  decima  presente  in  figlioli  detti  in  detto 
gonfalone 

Sustanze 

Duna  chasa  pro  non  divisa  chon  lucha  mio  zio  e simone 
mio  fratello  da  p°  via  da  second0  berto  di  rondone  da 
terzo  beni  di  sca  Ma  delfiore  da  quarto  pierò  sassetti  e 
la  detta  chasa  chonpramo  da  lippo  di  biagio  da  peretola 
per  pregio  di  f.  220 

Dun  podere  posto  altartiglia  e pro  non  diviso  chon  sopra- 
detti — 

Dun  podere  pro  non  diviso  chon  sopradetti  posto  a san 
tomaso  a baroncielli  tutti  confinati  chome  gli  hanno  detto 
lucha  di  simone 

Dun  pezzo  di  terra  vingniata  di  staiora  quattro . 

posto  nel  popolo  di  san  christofano  annuovoli • 

(bought  18  September  1468) 

Dun  pezzo  di  terra  vingniata  di  staiora  4 luogho  detto 

gondilagi  popolo  santa  Ma  a peretola (bought  5 Aprii  1468) 

Dun  pezzo  di  terra  posto  in  detto  luogho  di  staiora  dieci 
o circha  parte  vingniata  e parte  lavorati  (bought  9 Aprii 
1468  for  fi.  34) 

Incarichi 

O addare  ongni  anno  al  cam0  (camerario)  di  sca  m’ 

delfiore  (here  follow  a word  or  two  illegible)  di  lib  io  soldi  8 si  paglia 

davillaro  della  sopradetta  chasa 

Lucha  di  simone  dellarobbia  mio  zio  mi  domanda  buona  somma 
di  danari  della  quale  io  ne  fussi  debitore  chome  lui  dicie 
mi  rimarebbe  picchola  chosa  et  pero  mi  vi  rachomando 


E trovomi  chon  bocche 

Andrea  detto  deta  danni  33  f.  200 

Nanna  mia  donna  deta  danni  21  f.  200 

Antonia  mia  figliola  deta  danni  3 f.  200 

Marcho  mio  figliolo  deta  danni  2 f.  200 

Giovanni  mio  figliolo  deta  danni  1 f.  200" 


[Portata  al  Catasto  di  Andrea  della  Robbia,  Anno  1470.  Archiv.  delle 
Decime  QTe  S.  Giovanni,  Gonf.  Chiavi,  filza  927  c.  52;  Gaye,  I,  186-187; 
Cr„  304™ M.,  L.  d.  R.,  XXXVII.] 

64.  Andrea’s  Tax  return  of  1481. 

“A  quartiere  sangiovannj  chon f alone  chiavi 

Andrea  di  marcho  dellarobbia  ebbe  di  catasto  lamio  147° 

in  detto  nome  f 

ebbe  detto  f 1 -3-7-5 


INTRODUCTION 


xlix 


Una  partte  di  casa  nel  chonfalone  delliondoro  in 
via  ghuelfa  un  terzo  mi  tocho  nella  divisa  con  lucha 
mio  zio  e con  simone  mio  fratello  da  p°  via  second0 
pierò  sasetti  3 capittolo  di  santa  m“  del  fiore  4 lucha 
di  simone  comperola  marcho  mio  padre  e lucha  mio 
zio  dallippo  di  biagio  daperettola  lamio  1446  costo 
f 220  cartta  p(er)  ser  iacopo  da  romena  tenghola  a mjo 
uso  p(er)  abitazione  f — 

Una  quartta  casa  per  non  divisa  con  lucha  di  simone 
mio  zio  e con  simone  mio  fratello  nel  popolo  di  santo  ma 
altarttagliese  da  p°  via  second0  strada  3.4  nicholo  e 
giovannj  bellacj 

La  quartta  partte  di  dicannove  pezi  di  terra  per 
non  divisj  con  luca  e simone  come  di  sopra  posti 
alltartigliese  da  p°  via  second"  marcho  di  bello  bellacj 
3 filippo  del  panca  4 loro  medesimi j lutjmo  (?)  da  second0 
3.4  pierò  di  biagio  daltarttagliese 
Un  pezo  di  tera  per  non  diviso  con  lucha  e simone 
come  di  sopra  comperato  da  firenze  di  zelone  lamio 
1468  costo  f viiij  s x cartta  p(er)  ser  andrea  dacampi 
e di  sopradettj  terreni  inoggi  buona  partte  innarno 
come  si  può  vedere  lavora  dettj  terreni  chimentj  di 
marcho  rendono  p(er)  la  partte  mia 

ghrano  staiora  15  

carne  libbre  50  50  — 

uova  serque  una  — - 1 

capponi  paia  

Un  podere  per  non  diviso  con  lucha  e simone  come 
di  sopra  con  casa  daoste  e dallavorattore  nel  popolo 
di  santommaso  a baroncellj  da  p°  via  second”  pierò 
mellinj  3 filippo  di  simone  fossattello  in  mezo  4 lerede 
di  tommaso  davizi 

Due  pezi  di  tterra  per  non  divisj  con  lucha  e simone 
dettj  e con  detto  podere  da  p°  via  second”  3 lerede  di 
conte  peruzi  fossattello  in  mezo  4 pierò  mellinj  lavora 
lucha  di  frane”  garlonj  rende  p(er)  mja  partte 
ghrano  staiora  st(aia)  7 

vino  b (arili)  6 

capponi  p(aia)  - — - 

uova ser(que)  1 — 

lavoransi  dette  terre  con  uni  bue  di  1 xxxiiii  tocamj  p(er)  Rj  18  s io  - io 
Un  poderetto  nel  popolo  di  san  gorgo  aruballa  sanza 


INTRODUCTION 


casa  da  signiore  con  cinque  pezuoli  di  terra  con  detto 
podere  chon  3 pezi  anno  p(er)  confino  da  p°  second0 
via  3 papi  di  gerj  de  bardi  4 chiesa  di  sangorgo 
aruballa  coglialltri  due  pezi  confina  da  p°  via  second0 
chiesa  di  sangorgo  3 chiesa  di  sanlorenzo  amontj  sone  4 
pierò  ghuaschonj  et  5 fossatto  comperossi  da  ma 
nanna  donna  di  zanobi  ficozi  1469  cartta  p(er)  ser 
paolo  paoli  p(er)  f 375  di  sugello  lavoralo  ant°  diromolo 
cò  un  bue  di  1 xxxvj  rendemj  mja  partte  — 


ghrano  

st(aia) 

35 

vino 

b ( arili  ) 

8 

olio 

— b(  arili) 

7 

carne  di  porcho 

11  (libbre)  102 

uova  

ser(que) 

5 

capponi  

p(aia) 

1 

Frutto  di  piu  ragioni  1 2 (lire  2)  412 — 19  — 9 

Due  pezi  di  tera  di  staiora  dieci  in  circha  partte 

vigniata  e partte  no  posta  a perettola  in  ghondilagi  da 

pn  via  second0  dant°  vocato  farfa  3 zanobj  calzolaio 

4 via  comperatto  da  simone  di  bencivennj  scarta  p(er)  f settanta 

di  sugello  cartta  p(er)  ser  girolamo  pascholinj  lanno  1468  rendono 

in  partte 

vino  bar  ili  j b 12  — 

ghrano  - — st  4- — - 

Un  pezo  di  vigilia  nel  popolo  di  san  christofano  annuovolj 
da  p°  second0  via  3 munistero  di  santa  agliata  4 benj  della 
comp”  di  castello  5 guljano  dantonjo  e fratellj  comperata 
da  ma  zanobja  e ma  lisa  sirocchie  e fìgluoli  furono  di 
giovami j di  lorenzo  dannuovoli  comperata  adi  18  di 
settembre  1468  costorono  f xxxv  cartta  p(er)  ser  pierò  da 
campi  rendemj  in  partte 

vino  b( arili)  8 

Incarichi 

Da  dare  ogni  anno  al  capittolo  di  santa  Ma 
delfiore  p(er)  lavvilaro  della  casa  dove  abitto  1 2 s 12 
Bocche 


Andrea  etta  danni 

Ma  nana  sua  donna  e sta  p(er)  fare 
el  fanciullo  di  dj  in  dj  (i.e.  di  giorno  in 
giorno)  etta  anj 

Antonia  mio  fioliuola  anj 
Marcho  mio  fidinolo  


44 


31 

13  a di  dota  insulmonte 
1 1 f 600 


INTRODUCTION 


li 


Giovanni  mio  fioluolo  - — 

Paocholo  mio  lioluolo  

Lalisabetta  mia  lioliuola  

Lucha  mio  lioluolo 

Francescho  mio  lioluolo  

Soma  la  prima  faccia  del  valsente  — 
Soma  la  faccia  disopra 


9 

8 

7 non  a (non  ha)  di  dota  nulla 

6 

4 

f 412  — 19  — 9 
f 139  — 0 — 0 


Abattj  p(er)  5 percento  p(er)  la  conservagione  de  benj 


551  — l9  — 9 
f 27  — 12  — 


524—  7 — 9 

Soma  del  valsente  netto  f 524  — -7  — 9 a 7 percento 

fa  di  Entratura  f 36  — 15 

Abattesj  f 4. 18  di  valsète  p(er)  la  % parte  di  1 11  s 8 

duno  livello  pachano  al  capitolo  di  sàta  m"  del  fiore 

della  casa  dove  abitono  fanno  di  Entratura  ( ?)  s 7 di  Entratura  ( ?) 

dalentrata f 36  — 8 

Avanzagli  f 36  — 8 tochagli  p(er)  la  sellala  di  gravezza  f dua  5 dieci  di 

undici j — f 2 — io  — 11  oro 

Arbitrio  s diecj  di  f larghi  s io” 

[Portata  al  Catasto,  anno  1481,  di  Andrea  della  Robbia,  Archiv.  delle 
Decime,  Qre  S.  Giovanni,  Conf.  Chiavi,  filza  100,  c.  137.] 

65.  Andrea’s  Tax  Return  of  1498 — actually  made  about  Apr.  1,  1495. 

“Andrea  di  marcho  di  simone  della  Robbia  0 di  sangiovani 
G chiavi  disse  la  gravezza  della  scala  dellanno  1481  in  andrea 
detto 

Una  casa  per  mio  abitare  posto  nel  popolo  disanlorenzo 

luogho  detto  via  ghuelfa  nel  gonfalone  delione  doro  che  da  p° 

via  da  s°  eredi  di  berto  legnaiuolo  da  t°  capitolo  di  santa  maria 

delfìore  da  q°  govanni  tessitor  di  panni  lini  o conperato  un 

pezzuolo  di  terra  cioè  di  campo  che  confina  chollorto  della  detta 

casa  e per  crescere  lorto  dallato  drieto  alla  casa  confina  collorto 

di  detta  casa  e con  detto  capitolo  in  dua  lati  costo  ff  ottanta 

larghi  doro  per  ff  40  lo  staioro  che  furono  staiora  dua  sotto  di 

15  di  settembre  1492  roghato  ser  Guntino  di  lorenzo  di  guntino  rende 

vino  barili  4 lamio f 1 — 16 

E piu  una  casa  posta  in  detto  popolo  allato  a quella  abito 

murata  in  sulla  via  prima  compera  della  terra  era  orto*  di  detta 

casa  chio  abito  laquale  al  presente  apigionata  confinata  da  p" 

via  da  s°  andrea  sopradetto  da  t°  govanni  tessitor  di  panni 

lini  da  q°  beni  di  santa  maria  delfiore  della  a pig(i)one 

baldo  di  giovanili  di  berto  da  careggi  per  preg(i)o  di  ff  quattordici 


lii 


INTRODUCTION 


e mezzo  larghi  doro  exun  pacha  fu  roghato  ser  bastiano  forci  della 

alloghagone fi  19  — 7 — 10 

Un  podere  posto  nel  popolo  di  san  gorgo  aruballa  con  casa 
dalavoratore  diviso  in  cinque  pezzi  di  terra  E prima  tre 
pezzi  insieme  da  p°  via  da  s°  papi  di  Gerì  de  bardi  da  t°  via 
da  q°  detto  papi  E piu  dua  pezzuoli  di  terra  spiccati  da 
quegli  tre  sono  staiora  quattro  on  circha  da  p°  via  da  s° 
la  chiesa  di  sangorgo  da  t°  antonio  di  pierò  Ghuasconi  da  q° 
chiesa  dimonte  isone  ed  è in  tutto  staiora  dicotto  ulivata  vingniata 
e affruttata  lavorasi  con  uno  bue  di  ff  nove  lavorato  meo  di 
zanobi  berni  rende  in  parte 


Grano 

staia 

30 

vino 

barilj 

6 

olio 

barilj 

5 

fichi  sechi 

staia 

4 

carne 

libre 

100 

capponj 

paia 

1 

uova 

serque 

5 

E piu  tre  pezzi  di  terra  vingniata  posta  nel  popolo  di 
sacristofano  anuovoli  luogho  detto  gondilagi  confinata  da 
p°  e s°  via  da  t°  ser  diecaiuti  prete  insalorenzo  da  q" 
lorenzo  di  Giuliano  dant"  da  qui0 (quinto)  àtomo  sta  alla 
torre  lavorale  alpresente  miglor  di  romolo  sta  a castello  e 
de  staiora  quattordi(ci)  rende  lanno  in  parte  barilj  15  — f 9 — - 
E piu  conperai  un  pezuol  di  terra  per  murare  una  casa  posto 
nel  popolo  di  salorenzo  luogho  detto  via  mozza  che  va  a santa 
Caterina  la  quale  conperai  dal  capitolo  di  santa  m°  delfiore 
per  preg(i)o  di  ff  quaranta  larghi  doro  lo  staioro  che  costo  in 
tutto  ff  quarantacinque  e mezzo  larghi  cófìnata  da  p°  e s°  e 
t”  beni  della  detta  chiesa  da  q°  via  alquale  fu  braccia  venti- 
quattro  in  sulla  via  e ba (braccia)  settantazette  indrieto  a canna 
di  tera  sotto  di  6 di  marzo  1492  roghato  ser  alesandro  braccesi 
la  quale  terra  si  vende  come  si  vedrà  nellaltra  faccia  ne  benj 
alienatj  — f 


53-3-4 


ben  j alienatj 

Un  quarto  podere  per  non  diviso  con  simone  dellarobbia  mio 
fratello  posto  nel  popolo  di  santomaso  a baroncelgli  e nel  pievier 
diripoli  si  vende  a domenico  mellinj  ebine  (that  is  ne  ebbi) 
ff  cento  sessanta  larghi  inoro  cioè  del  quarto  podere  confinato 
in  questo  modo  cioè  de  p°  via  da  s°  domenico  mellinj  deto 
da  t°  bastiano  covoni  da  q°  via  da  qui°  fossato  da  sesto  e 
1/7  (settimo)  eredi  dallessandro  peruzzi  roghato  ser  ant°  di  ser 


INTRODUCTION 


liii 


niccolo  ferrin j sotto  di  30  daghosto  i486 

E piu  o alienào  pezzi  tre  di  terra  posta  nel  popolo  di  santa  ma 

altartilglese  confinata  in  questo  modo  cioè  da  p°  via  da  s°  borro 

da  t°  benj  della  detta  chiesa  da  q"  andrea  bellacci  da  qui" 

ristoro  ser  ristorj  lequali  terre  furono  istimate  staiora  venticinque 

conperolle  tinoro  bellaccj  costerolgli  ff  settanta  larghi  inoro 

nettj  roghato  ser  lorenzo  di  vivaldo  sotto  di  15  di  settenbre  1492  di  firenze 

E piu  o alienato  un  pezzo  di  terra  posta  nel  popolo  di  sanlorenzo 

luogho  detto  via  mezza  che  va  a santa  Caterina  laquale  conperai 

dal  capitolo  di  santa  m"  del  fiore  per  preg(i)o  di  ff  quaranta 

larghi  doro  lo  staioro  confinata  da  p°  e s°  e t°  beni  di  detta  chiesa 

da  q°  via  alquale  fu  ba(braccia)  24  insulla  via  e bracc(i)a 

77  indrieto  a canna  di  terra  sotto  di  sei  di  marzo  1492  roghato 

ser  allessandro  braccesi  la  quale  terra  si  vende  a baldo  di 

govannj  di  berto  da  careggi  per  preg(i)o  di  ff  sessanta  cinque 

larghi  inoro  tolse  per  murare  chasa  rogha  ser  quntino  di 

lorenzo  di  guntino 

SomnT  la  Entratura  di  questa  scrittura  chome  nella  prima 
faccia  si  vede  f cinquanta  cinque  s iij  dj  iiii°  aoro  di  sugello  cioè  — 

f 55  — 3 — 4 

Sono  f quaranta  cinque  s xviiii"  dj  vj  aoro  di  sugello 
Tochagli  p(er)  dex"  (dexima)  f quattro  s xij  aoro  sugello- — 

f 4 — 12  sugello 

Adi  24  di  marzo  1524  abbatesi  f 1 s 12  d 4 p(er)  una 
casa  ridotta  p(er)  suo  habitare  p(er)  partito  degli  uficialj 
delmonte  roghato  ser  Lo  (Lorenzo)  arutj  sotto  detto  dj 

in  filza  n°  208  resta f 2 — 19  — 8 

Al  32  (1532)  in  lucha  dand"  di  simone  della  robbia 
e altri  G'  (Gonfalone)  detto  n°  470  p(er)  a/x  (decima)  di 
f dua  s xviiij  dj  vii  larghi  di  grossi  in  soma  di 

f 4.15.4  di  a/x f 2 — 19  — 8" 

[Archivio  di  Stato,  Archivio  delle  Decime,  Qre  di  San  Gio.  Gonf.  Chiave, 
filza  120,  c.  88;  Pini,  Scrittura  di  artisti  italiani,  sec.  XIV-XVII  ; Cr.,  308- 
309-] 

66.  Registration  entry  of  will  of  Andrea  della  Robbia. 

Documents  : 

i.  (At  the  top  of  page:  Ser  Giuliano  di  Ser  Domenico  da 
Ripa) 

“Andreas  Marci  Simonis  della  Robbia  condedit 

testamentum  die  14  Septembris  1522.  Here- 

des  instituit  Johannem  Lucani  et  Jeroni- 

mum  eius  filios.  lib  3—1 5 

Die  31  Januarij  1529  (moderi!  reckoning 


liv 


INTRODUCTION 


1530)  solvit  Johanni  marie  de  Corbi- 
nellis  camerario  c.  4 lib.  tres  cum  0/4 
(quarto)  Johannes  Andree  della  Robbia.”  lib.  3-15 
[Archivio  di  Stato,  Archivio  Notarile  Appendice,  Registro  di  Testamenti 
Santa  Maria  Novella,  N°  Vili,  segnato  Cod.  89  c.  98;  Milanesi,  Mise.,  39 
III  P.,  c.  23;  R.  G.  M.,  Am.  Jour.  Arch.,  XXIV(i92o),  140.] 


Will 


Test  Andree 
Marcj  della 
robbia  1522  4 
7 bre  (N°)  177 


of  Andrea  della  Robbia,  1 K22. 

“+yhs 

In  dnj  no  (min)  e ame(n)  anno  dnj  jncarnationis 
1522  Jndict.  X et  die  4 settembris  actu 
florètie  jn  p(o)p(o)lo  sci  laurenti j florétie  et  jn 
sagrestia  ecc(lesi)e  scj  marcj  de  florètia 
p(rese)ntibus  j bici  venerabilibus  viris 

fra  paulus  johls  de  cavalcantis  de  prato  \ omnibus  fratribus 


Sut  codicillas 
T mano  mei 


Mixi  ad  op- 
(er)am 


data  tides 
ut  patet 


fra  pacifico  filippi  de  gualteritis 

fra  nicholaio  mariotti  de  sexto 

fra  bart°  pauli  de  finis 

fra  johannes  s(er)  lionardi  de  florètia 

fra  angelo  petrj  de  beninis 

fra  francisco  johls  de  dinis 


est  revocatus 
manu  s(er)- 
iohis  petrj 
de  borghesis 


Jconventus  scj  marcj 
/ florètie  testibus 
ad  jnfrascripta  omnia 
et  singula  vocatis 
ih ( ab ) itis  et 
Irogatis  proprio  bore 
infrascripti  testatoris 
Cum  nihil  sit  certius  morte  nihilque  jncertius  hora 
eius  hi(n)c  est  q(uod)  prudens  vir  andreas  marcj 
simonis  della  robbia  plj  scj  lavrIJ  florétie  sanus 
p(er)  dei  gratiatn  sensu  mente  jntellectu  et  corpore 
volens  dum  mens  salubre  est  posteris  de  suis  p(ro)vi- 
dere  nolens  jntestatos  decedere  sed  de  suis  bonis 
p(ro)videre  p(er)  hoc  suum  nu(n)cupatum  testamétu  quod 
dictitur  sine  scriptis  de  bonis  suis  deposuit  fecit 
et  ordinavit  jn  hu(n)c  qui  sequitur  modù  et  forma 
viz. 

Jn  primis  q(ui)de(m)  animam  suam  om(n)  jpotentj 
deo  eiusque  gloriose  matrj  marie  semp(er)  vir- 
ginj  et  toti  celeste  curie  paradisi  humilter  et 
devote  racommandavit  corporis  autem  suj  sepultu- 
ram  elegit  jn  sepulcro  suorum  p(re)dicessorum  sito  jn 
eccle  scj  petrj  maioris  de  florètia  et  circa  eius 
funus  fierj  voluit  q(uo)d  et  quantum  videbitur 
jnfrascriptis  suis  heredibus 

Item  jure  legati  reliquit  et  legavit  ope(re)  scé  marie 
del  fiore  de  florètia  nove  sagristie  nuovi  op(er)i  mu- 
rorum  jn  totum  sechundum  ord(inamenta)  comunis 


INTRODUCTION 


lv 


mixi  ad 
gabellum 


p( re) diete  lib.  Tres  f.p. 

(This  was  a registration  tax  as  wills  were  registered  at  the 
opera.) 

Item  amore  dei  et  p(ro)  rimedio  anime  sue  voluit  et  reliquit 
q(uod)  infra  otto  dies  p(roxi)m(o)s  futuros  post  mortem 

dcj  testatoris 

q(uod)  in  eccu  scj  marej  celebrentur  misse  scj  gregorj  et  p(ro) 
elimosina  teneantur  dare  infrascripti  sui  heredes  flor. 
unum  aurj  lar.  in  auro 

Item  relequit  sorori  sperantie  et  sorori  angeline  et  cuilibet 
earum  p(ro)  rimedio  anime  sue  fior,  decem  aurj  l(arghos) 

in  auro 

et  ultra  rasciam  et  pannum  condecentes  p(ro)  uno  vestitu 
p(ro)  quolibet  earum 

Item  relequit  amore  dei  (two  words  written  and  cancelled) 

marie  sue 

filie  pannum  p(ro)  una  cioppa  (cappa)  et  unum  strigatorium 
tempore  mortis  d(i)c(t)j  testatoris  et  ultra  p ( re ) d ( i ) c ( t ) a 

eidem  relequit 

quolibet  anno  quousque  vixerit  flor.  novem  lar.  in  aur0 
et  stinta  eius  vita  na(tura)lj  presens  legatus  evanescat 
+yhs  m"  (head  of  2nd  page) 

Item  relequit  jure  legati  d(omi)ne  nannine  p(ro)  usu  sue  dotis 
(these  four  words  written  and  cancelled)  sue  uxorj  (text  muti- 
lated— missing  word  must  be  uxorj) 
dotes  suas  quas  dixit  fuisse  et 

esse  flor.  ottingentos  quos  h(ab)uit  jn  chontantibus  a 
co(mun)i  flor(entie)  jam  s(un)t  annj  quinquaginta  et 
considerans  bene  merita  ipsius  dne  nannine 
eidem  relequit  et  legavit  usum  fructum  integrum  pdij  ( praedii) 
del  testatoris  positi  jn  pplo  sci  giorgij  aruballa  infra  suos 
confines  cum  o(mn)ibus  suis  pertinentiis  et  cum  usu  omnium 
masseritiarum  et  bestiaminarum  et  bonorum  mobilium  existan- 
tium  sup(er)  dictis  bonis  tempore  mortis  del  testatoris  et  ultra 
predicta  reditum  jn  domo  del  testatoris  inf(r)a  assignate  jn 
portione  infrascriptj  hieronimj  et  usum  camere  cum  omnibus 
suis  fulcimètis  tarn  de  lignamine  q(uam)  p(ro)  usu  lettiere  let- 
tuce j et  cum  lettis  fornitis  p(ro)  ornili  tempore  et  p(ro)ut 
verioris  retineat  et  retinet  ipse  testator  ac  et(iam)  usum 
o(mn)ium  dee  cine  pannorum  lintorum  et  lannorum  p(ro)usu 
suj  dorsj  quousque  viderit.  Et  presens  legatus  voluit 
durare  quousque  nò  petierit  dotas  suas  et  liberaret 
dotam  ab  honere  satisdandj  et  fidem  p (re)  stand  j decit- 


Ivi 


INTRODUCTION 


andj (?)  et  faciendj  ad  arbitrio  bonj  virj  et  a quacumque  con- 
fectione  jnventarj  qui  intendet  et  vult  ipàm  terram  ad 
restitutionem  bonorum  p(re)d(i)c(  t)  orimi  tam  mobilium 
quam  j mobilium  prout  erunt  et  que  et  nò  essent  usu  con- 
sumpta 

Item  reliquit  a dee  dné  panna  et  strigam  p(ro)  bruno  (i.e. 
lutto)  faciend"  p(er)  deu  testatore ( m) 

Item  autem  in  o(mn)ibus  suis  bonis  suos  heredes  universales 

jnstituit 

fecit  et  esse  voluit  johannem  lucani  et  hieronimum  suos 
filios  l(egiti)mos  et  nat(ura)les  equis  portionibus 
et  volens  evitare  scandala  que  solent  saepe  orirj  in  divisionibus 
bonorum  et  dividet  domos  jn  portione  dcj  luce  de  bonis 
jmobili(bu)s  jure  legati 

reliquit  et  posuit  unam  domimi  cum  suis  habitationibus  et 
p(er)tinentiis 

positam  in  p(o)p(o)lo  scj  lavr'j  tìorétie  et  jn  via  que  dicitur  la 
via  Guelfa  cuj  a p°  dea  via  a ij  palatium  dné  magda- 
lene  olim  petrj  de  sassettis  a iij  jnfrascripta  domus  posita 
jn  portione  del  hieronimi  a 4 bona  cap(itol)j  scé  marie  del 
fiore  de  florètia  p(ro)  tanto  quanto  est  p(er)  latitudinem  domus 
p(re)dcé  una  cum  orto  et  vinea  que  est  i orto  dee  domus 
p(ro)  tanto  quanto  capiet  latitudo  domus  p(re)decte  proce- 
dentem  per  altitudinam  prout  traet  paries  dividens  domimi 
p(re)dcàm  a domo  infrascripti  Hieronimj  cum  omnibus  perti- 
nentiis  domus  predicte  et  que  domus  et  vinea  est  libera  del 
testatoris  et  cum  honere  q(uod)  deus  lucas  nò  possit  aliquid 
repetere  ab  heredibus  dei  testatoris  de  his  que  hodie  est  in  mani- 
bus  dei  testatoris  et  hoc  quod  domus  ip(s)a  est  cum 

melioris  conditionis  jnfrascripto  domo jn  portione 

vero  del  hieronimj  de  bonis  jmobiliis  jure  legatj  reliquit  posuit 
et  esse  volvit  unam  aliam  domimi  cum  suis  habitationibus  et 
p(er)tinentiis  et  finimentis  positam  juxta 
sup(ra) scriptum  domimi  muro  comuni  mediante  una 
cum  una  stantia  infrascripte  domus  assignata  jnfrascripto 
johni  que  est  post  cucinami  domus  jnfrascripti  joins 
denominata  lanticucina 

-j-vhs  Me(head  of  3rd  page) 
jn  qua  anticucina  est  furnus  et  truogolj  reservato  tamen 
arti  victreriarie  p(ro)  faciendo  unum  anditum  ad  ortum  p(ro) 
domo  dei  infrascripti  joins  bracchia  duo  cum  dimideo  alterius 
bracchi  juxta  parietem  dividendum  domimi  datam 
dcò  infrascripto  johàni  et  domimi 


INTRODUCTION 


lvii 


andree  venitianj  in  quibus  bracchijs  duobus  com  dimideo  tene- 
atur  dcùs  johès  fierj  facere  suis  sumptibus  unum  parietem 
dividendum  dcùm  andronem  fiendj  residuum  dee  stantie 
dee  antiquoquina  (anticucina)  Et  in  dicta  portione 
domus  date  dcò  hieronimo  voluit  venire  totum  ortum  qui 
fuit  comprehensus  a linea  ortus  datj  dcò  luce  usque  ad 
lineam  ortus  rettam  p(ro)ut  trahet  linea  retta 
dei  parietis  fiendj  p(er)  defi  johèm  ad  cordam  adeo  q(uod) 
ortus  dei  hieronimj  erit  p(roj  tanto  quanto  capiet  domus  sua 
sub  sua  doni inatione  et  et(iam)  p(ro)  tanto  quanto  capiet 
jnfrascripta  domus  data  dcò  jnfrascripto  johi  restens  jn  por- 
tione dei  hieronimj  posuit  totani  integrarli  vineam  que  est  dei 
testatoris  libera  jnfrascriptorum  ortorum 
et  jn  capit"  ortus  d(i)c(t)arum  domorum  i portione  supradci 
luce  infra  versus  viam  dicta  mozzam  adeo  q(uod)  tota 
vinea  que  rimanet  nò  data  dcò  luce  jn  sua  portione 
restet  et  sit  jn  portione  dei  hieronimj  cum  honere  sol- 
vendo  cap  (ito)  lo  ecc'(  ecclesie)  fior.  lib.  quinque  et  sol.  4 quoli- 
bet  anno  p(ro)  livello  debito  p(ro)  dea  domo 
et  hoc  p(ro)  raguaglio  eius  jn  quo  et  de  quo  ipse  hiero- 
nimus  est  creditor  dei  testatoris  quam  voluit  p(er)  eum 
pati  possi  et  cuj  domus  a p"  via  p(re)dcà  et  a ij°  domus  dei  luce 
a iij  domus  jnfrascripti  johis  a 40  cap(ito)lum  flor"um 
In  portione  vero  partis  dei  johis  de  bonis  jmobilibus  jure  legati 
reliquit  et  posuit  imam  aliam 

domimi  positam  juxta  dcàm  domimi  datam  dcò  hieronimo 
cum  suis  habitationibus  excepta  dea  antiquoquina  data  supra- 
dcò  hieronimo  duobus  bracchijs  cum 
dimideo  p(ro)  faciend0  definì  androne  et  cum 
toto  residuo  ortus  rimanentis  a dea  dirittura  procedenti 
a cheto  muro  faciendj  in  dcis  duobus  bracchijs  cum 
dimideo  supra  versus  viam  p( re) dcàm  et  usque 
ad  sepem  qua  sepes  rimaneat  et  sit 

jn  portione  dei  hieronimj  cuj  domus  a p°  via  a ij  dea  sepes 
a iij  domus  dei  hieronimj  a iiij  defi  andreas  venetianj  et  cum 
honere  solventi j anno  quolibet  cap  (ito)  lo  ecclesie  florétiè  lib. 
quinque  et  sol.  quatuor  p(ro)  suo  livello 

Declarans  q(ud)  puteus  in  quoquina  (cucina)  sit  in  comuni 
cimi  jnfrascriptis  hieronimo  et  johàni 
Et  licet  etc 

+yhs  Me(head  of  4th  page) 

Cassans  etc  Ego  julianus  olim  s(er)  dmcj  julianj  de  ripa 
eivis  floret,  rogans  etc” 


lviii 


INTRODUCTION 


[Archivio  di  Stato,  Rogiti  di  Ser  Giuliano  di  Domenico  da  Ripa,  Filza 
di  Testamenti  1490-1546,  segnato  Notai  G.  532  No.  177;  R.  G.  M.,  A.  J.  A. 
XXIV  (1920),  136-145.] 


68.  Codicil  to  Andrea's  Will.  1523. 

“Jn  dej  no(min)e  amé  anno  dnl  jncarnationis  mille 
Ma^1  del"a ree  quingent0  vigentesimo  sechondo  jndict  vj  et  die 
robia  1522  18  xviij  mensis  februarij  1522  (old  style) 

Feb.  (N°)  183  actum  jn  p(0)p(o)lo  sci  laurtl  florétie  et  jn  domo 
jnfrascripti  codicillatoris  presentibus 


Mixi  ad 
op(er)am 


* nò  pettient 
dea  maria 
cum  viro  suo 
et  nò  ultra 
hic  debeantur 
q(uod)  viro 
suo  mortuo  et 
evanescat 
p(rese)ns  le- 
ga tu  s 


fratre  bartilozo  johìs  de  cavalcantibus 
fratre  dannano  marej  de  beninis 

join  leonardj  de  manischalcis  1 civibus 
Marcello  leonardj  de  vernacis  i florétie 
Frane0  julianj  de  bonis 


fratribus 
scj  marej 
florètie 


omnibus  testibus 
ad  infrascripta 
oia  et  sin- 
gula proprio 
hore  jnfra- 
scripti codi- 
cillatoris vocatis 
h f ab ) itis  et  roga- 
tis 


Cum  ambulatorio  sit  voluntas  usque 
ad  mortem  Ine  est  q(uod)  prudens  vir 
Andreas  marej  simonis  della  robbia 
p(0)p(0)l°  scj  laur1J  flor.  sanus  p(er)  dei  gratiam 
mente  sensu  et  intellectu  et  corpore  languens  renumptians  et 
recordans  q(uod)  alias  deus  andreas  mano  mej  notarj  infra- 
scripti  sub  die  xiiij ( ?)  mensis  settemb(ris)  proxime  preterite 
v(e)l  alio  die  veriorj  suum  condedit  testamétum  jn  quo  p(ro) 
hoc  simil  ( it ) er  disposuit  inter  alia  que  jn  eo  continentur  post 
definì  infrascriptum  testamétum  mutata  sue  volontate  eira  jn- 
frascriptum  quodam  in  eo  continentur  hac  particulari  disposi- 
tione  de  bonis  suis  p(er)  has  presentes  codicillos  disposuit  et 
ordinavi t et  fecit  jn  soliti!  modù  et  forma 
Jn  primis  renumtians  q(uod)  jn  dcò  suo  testaméto 
reliquit  marie  sue  filie  anno  quolibet  quousque  vixerit  flor. 
novem  lar.  jn  auro  mutata  sua  voluntate  ut  jnfra  voluit  et 
declaravit  q (uod)  eidem  marie 
debeantur  dei  floreni  novelli  lar.  jn  avr°  quousque* 

[ipé  (ipse)  vixerit  durabit  vita  naturalis  tomasij  marej  fantinj 
virj  et  maritj  dee  dnè  marie  et  116  ultra  vita  del 
tomasiij  etiam  postquam  vixerit  ipà  dnà  maria  sive  non 
huiusmodj  legatus  evanescat]  (all  in  brackets  was  cancelled 
after  death  of  Tomaso  Fantini,  an  asterisk  (*)  was  put  after 
quousque  and  marginal  note  is  to  be  read.)  Et  voluit  q(uod) 
ad  solvendum  dcòs  flor.  novem  teneantur  quilibet 
dcórum  suorum  heredum  jn  dcò  testaméto  institutos(  ?) 


INTRODUCTION 


lix 


p(ro)  flor.  tribus  et  nò  ultra  et  voluit  q(uod)  dea  maria  nò 
possit  illos  patere  nisi  a quolibet  dcoruni  pred(i)c(t)orum 
heredum  p(r)out  patet  et  nò  possit  illos  consequi  nisi 
sup(er)scriptis  bonis  cuiuslibet  d(i)c(t)orum  suorum  here- 
dum et  obumatorum  (for  successorum?)  in  portione  sint  ex 
bonis  testatoris  p(ro)  parte  tangenti  cuilibet  suorum  heredum 
(Head  of  2d  page) 

Item  renumtians  jnstituisse  suos  heredes 
lucani  johèm  et  hieronimum  suos  lìlios  et  eis  divisisse  et 
cuilibet  eorum  dedisse  certain  portionem  suorum 
jmmobilium  p(ro)ut  jn  testaméto  et  jn  portione  hieroni- 
mj fuisse  cum  domo  data  hieronimo  imam  stantiam  denomina- 
tami anticucina  que  est  jn  domo  data  dcò  johani 
Et  voluit  q(uod)  johès  teneatur  facere 
unum  andronem  juxta  murimi  dividend (um)  domimi 
datam  deo  johani  et  domimi  andree  venitianj  bracchior(um) 
duor(um)  cum  dimideo  cum  muro  fiendo  denovo  p(ro)  divi- 
dendo anticucinam  a d(i)c(t)o  androne  et  p(r)out  jn  testa- 
mèto  latius  apparet  mutata  sua  voluntate  voluit  q(uod)  dea 
antiquoquina  restet  jntegra  dcò  johi  et  q(uod)  deus  johès 
teneatur  facere  hostium  pro  intrando  jn  orto  juxta  dermi  mu- 
rimi andree  venitianj  et  nò  maioris  latitudini  bracchior(um) 
duor(um)  cimi  dimideo  adeo  q(uod)  hostium  p(re)d(i)ctum 
possit  capere  jntegram  viottolam 

dei  ortus  existantis  semper  colupna  de  lateribus  que  est  supra 
angolo  viottole  prope  vineam  domus  jn  portione  ortus  dei 
hieronimj  et  residuum  ortus  restantis 

juxta  dictam  colunnam  et  versus  viam  mozzam  restet  et  sit 
dcò  join  usque  ad  viottolam  sepis  que  sepes  cum  viottola 
exist  ente  juxta  sepem  et  ortum  dei  joins  usque  ad 
domimi  d(i)ctam  sit  dei  hieronimj  Et  ad  tollendum 
pasculum  declaravit  qnod  integra  sepes  p(re)dcà  p(ro)tanto 
quanto  capeat  ortus  dei  joins  et  viottola  juxta  dcàm 
sepem  et  ortum  dei  joins  sit  et  veneat  jn  portione  dei 
hieronimj 

Et  loco  dee  antiquoquine  posuit  et  venire  voluit  imam 
stantiolam  que  est  jn  domo  data  dcò  johàni  et  respondit 
cum  fenestra  jn  lodia  dei  hieronimj  in  qua  hodie  sit 
paries  cum  palatio  existanti  sup(ra)  ea  et  cimi  tetto  et 
sit  afondamentibus  usque  ad  celimi  Et  teneatur 
dcùs  hieronimus  facere  intraturam  jn  dea  stantiola  jn 


lx 


INTRODUCTION 


androni  domus  dei  hieronimj  et  introitus  intrantis 
jn  dea  stantiola  debeant  renumtiarj 
Declarandum  p(er)  hos  p(rese)ntes  codicillos 
q(uod)  paries  existens  dimideo  juxta  domum  datam 
hieronimo  et  domù  datam  johi  dividet,  domos  afunda- 
mentis  usque  ad  celum 
Cassans  anti  etc  conflrmans  etc 
Et  ha(n)s  etc 

Ego  julianus  s(er)  dmcj  de  ripa  notarius  florent.  rogans  etc’’ 

[Archivio  idem,  Filza  idem  No.  183;  R.  G.  M.,  A.  J.  A.  xxiv  (1920), 
163-144.] 

69.  Revocation  of  Andrea's  Will. 

“1524  jndict(ione)  12  et  die  tertio  mensis  junij 
actvi  flortle  i arte  magistrorum  (lapidum  et  legna)  p(rese)nti- 
bus  Cante  Michaellis  cantis  p(ro)  visore  diete  artis 
Revocatici  Michaelle  pieri  cini  d(e)  lucherellis  cive  ilor.  p(opo)li  sci 
laur"J  d(e)  fltla  jobatiste  aloisij  ant'  d(e)guidottis  cive  flor. 
p(opo)li  sci  marej  d(e)  flor.  Tomasus  d(omini)cj  filippi  d(e) 
rinucis  cive  flor.  p(opo)li  see  Margherite  d(e)  flor. 
franc0  soldj  batiste  chappucceris  cive  flor.  p(opo)li  dei 
domco  ol(im)  lari  andree  lari  cive  flor.  habitante  i castro  vici 

vallis  else  (Castel  Vico  Vald’elsa) 
testibus  ad  infrascripta  o(mn)ia  p(ro)p(ri)o  hore  infra- 
scripti  andree  d(e)  robbia  vocatis  habitis  et  roghatis  etc 
Cum  sit  q(uod)  andreas  ol(im)  marci  d(e)robbia  civis  flor.  jà 
sunt  duo  anni  p(reteri)te  elapsi  vel  circha  p(r)out  vidi 
recordari  manti  s(er)  julianj  s(er)  Dome1  d(e)ripa  notari  flor. 
v(e)l  alterius  notari  flor"nl  suù  condedit  test™  in  q(u)o  et 
p(ro)q(u)o  in  est  etc  p(ro)ut  asseruit  fecit  et  ordinavit 
q(uo)dà  legati!  et  seu  voluit  et  alia  de  quibus  postea  dissit 
se  multotiens  penituisse  et  continue  penitere  attento 
notaro  q(uod)  test11"1  p(  re)  definì  de  facto  et  absque  p(re)- 
meditatione  aliqua  condedit  et  ordinavit  : et  adeo  itendens 
dciim  test™  et  o(mn)ia  ì eo  contenta  de  presente  revocare 
ad  bac  ut  aliud  aliter  et  alio  ni  (od  lo  maturo  consiglio  et 
consulte  suo  loco  et  tempore  condere  ordinare  et  p(er) ficere 
possit  et  valeat  : que  p(ro)p(ter)  dcùs  suprascriptus  andreas 
testator  eonstitutus  i presentia  et  i conspecto  mei  jp'(jo- 
hannis  petri)  notari  infrascripti  testum  suprascriptum  dissit 
asseruit  et  confessus  fuit  et  dicit  asserit  continere  test™ 
p( re) daini  de  q(u)o  s(upra)  p(er)  eu  p( re) definì  testatorem 
et  manti  del  s(er)  juliani  d(e)  ripa  seu  alterius  cujusque  notari 


INTRODUCTION 


lxi 


rogantis  se  iterimi  atque  iterimi  sepi  sepis  sepisime  penituisse  et 
penitere  fecisse  et  condedisse  test'""  de  q(u)o  supra  et  o(mn)ia 
contenta  i eo  p(ro)p(ter)ea  et  omnia  meliori  m(od)o  in  q(u)o 

potuit  test p(re)dcùm  et  o(mn)ia  I eo  contenta  irritavit  et 

revocavit  cassavit  et  anullavit  et  irritat  revocat  cassatet  anul- 
lat  : et  p(ro)  irrito  casso  revocato  et  anullato  haberj  voluit  et 
vult  ì o(mn)ibus  p(er)  eù  o(mn)ia  pariter  et  ac  si  p(er)eu 
factu  conditù  et  ordinati!  nò  esset  Rogans  etc” 

[Archivio  di  Stato,  Rogiti  di  s(er)  Giovanpiero  Borghesi,  Protocolli 
1519-1524,  segnato  Noti,  B.  2202,  c.  537;  R.  G.  M.,  A.  J.  A.  xxiv  (1920), 
1 45-] 


70. 

1529. 


Petition  of  Giovanni  della  Robbia  for  his  third  of  Andrea’s  estate, 
“ +yhs 

M.D.  XXVIIIJ  Jndictione  2a  de  mense  Tuli j 


Item  postea  dictis  anno  indictione  die(xxviiij)  et  loco  et 
coram  dictis  s(upra)s(crip)tis  testibus  etc 
Pateat  omnibus  evidenter  qualiter  johannis  q(uondam)  andree 
marci  della  robbia  de  florentia  Asserens  et  affirmans 
dictù  Andrea  eius  patrem  mortuù  esse  et  decessisse 
ab  intestato  jam  sunt  annj  tres  prox(  imi)  elapsj  et  ultra 
relictis  post  se  dicto  johanne  et  hyer"’°  et  luca  eius 
filiis  le ( giti ) mis  et  naturalibus  et  nullis  alijs  relictis 
habentibus  eos  excludere  ab  h(e)r(ed)i(t)ate  vel 
successione  elicti  andree  eorù  p(at)ris  aut  et(iam) 
eis  et  aliqua  parte  concurrere  Et  sciens  et  cognoscens 
p(re)fatus  johannis  h(e)r(ed)i(t)atem,  dicti  andree  eius 
q(uondam)  p(at)ris  eidem  pro  tertia  parte  ab  intestato  fuisse 
et  esse  et  et(iam)  delata  (m)  illamque  for  (e)  et  esse  sibj 
portius  utile(m)  et  lucrosa(m)  cjua(m)  dannosa(m)  jcleo 
h(e)r(ed)i(t)atem  predicta(m)  sibi  delata(m)  p(er)- 
tinente(m)  et  pro  omnj  alia  parte 

et  portione  etc  Adivit  et  o(m)nj  mel(iori)  mò(do)  etc 
Asserens  et  Protestans  et  Rogans  etc” 

[Arcliiv.  d.  S.,  Rogiti  di  Ser  Matteo  da  Falgano,  Protocolli  1527-1530, 
segnato  Notai  M.  300,  c.  297';  R.  G.  M.,  L’Arte,  XXII (1919)  ni;  M., 
G.  d.  R.,  XXII.] 


II.  CATALOGUE  OF  MONUMENTS 


ANDREA  DELLA  ROBBIA 
1470-1480 


ANDREA  DELLA  ROBBIA 


1470-1480 

1 MADONNA  OF  THE  IMPRUNETA  TYPE.  Berlin.  Herr  Min- 
ister W.  von  Dirksen  Collection.  Round-headed  relief.  H.,  0.44m.  ; 
W.,  0.29m.  Photo.,  Private. 

This  Madonna  (Fig.  1),  perhaps  one  of  Andrea's  earliest  works,  was 
inspired  by  Luca’s  Madonnas  on  the  frieze  of  the  baldachino  which  protects 
the  altar  of  the  Madonna  at  Impruneta.  Andrea  has  given  a nimbus  to 
both  Mother  and  Child,  has  added  nimbed  cherub  heads  and  indicated 


Fig.  i. — Madonna  of  the  Impruneta  type. 


4 


ANDREA  DELLA  ROBBIA 


clouds.  He  has  also  modified  the  type  and  indicated  the  eyes  in  his  char- 
acteristic manner. 

Bibl.  : 

B.,  FI.  Bild.,  130;  FI.  Sc.,  91;  Miinchn.  Jahrb.,  I (1906)  32;  M., 
L.  D.  R.,  236. 

2 SEATED  MADONNA  WITH  DRAPED  CHILD  BLESSING. 
Florence.  S.  Gaetano.  H.,  1.25m.;  W.,  0.80m.  Photos.,  Alinari, 
No.  2427;  Brogi,  No.  4896.  Casts,  Cantagalli,  407;  Lelli,  436. 

The  church  formerly  known  as  S.  Michele  Berteldi,  de'Bertelli,  de'Dia- 
voli,  a Piazza  Padella,  or  agli  Antinori,  transformed  and  rebuilt,  came  un- 
der Cosimo  I to  be  known  as  S.  Gaetano.  A subterranean  chapel,  reached 
from  No.  1 Via  degli  Agli,  is  now  reserved  to  the  Compagnia  di  S.  Michele 
Berteldi.  In  this  dimly  lighted  chapel  is  preserved  one  of  Andrea  della  Rob- 
bia's earliest  and  noblest  Madonnas  (Fig.  2). 

It  is  rightly  attributed  to  Andrea  della  Robbia,  although  it  exhibits 
strongly  the  influence  of  Luca.  The  frame  with  the  garland  of  fruit,  rising 
upward  without  the  conventional  vases,  is  Luca-like  in  its  simplicity,  but  is 
made  of  plaster.  In  the  central  relief  the  light  blue  background,  scattered 
throughout  with  clouds,  reminds  us  of  the  Justice  in  the  Cluny  Museum. 
The  symbols  of  tbe  Father  and  of  the  Spirit  are  here,  as  in  the  Madonna 
of  the  Architects,  but  tbe  absence  of  haloes  may  be  noted — a rare  omission 
in  Andrea’s  works,  though  common  in  Luca’s.  We  note  also  many  of 
Luca's  mannerisms;  tbe  mantle  drawn  over  tbe  head,  the  ruffle  about  the 
neck,  the  corti  and  buttons,  the  twisted  linen  girdle,  the  manner  of  colouring 
the  eyes  except  for  the  yellow  irises.  But  the  type  of  the  Virgin's  face,  of 
the  chair  on  which  she  is  seated,  her  bare  knees  and  the  swaddling  clothes  of 
the  Child  may  be  paralleled  only  in  Andrea's  compositions.  Tbe  pose  of 
the  Madonna,  in  three-quarter  profile,  and  the  Child  seated  to  the  left,  are 
also  indications  of  Andrea’s  design.  The  subject — the  Child  in  the  act  of 
blessing — is  one  used  many  times  by  Luca  as  well  as  by  Andrea  della  Rob- 
bia. The  swaddling  garments  worn  by  the  Child  link  this  relief  with  the 
bambini  of  the  Innocenti  Hospital. 

Bibl.  : 

B.,  Denk.,  73,  Taf.  243;  Burl.,  56-57,  107;  C-M.,  76,  111,  207  no.  14; 
Cr.,  134;  Del  Migliore,  437-453  ; Foratti,  Rass.  d'Arte,  XIX  (1919), 
30;  Fov.,  102;  M.,  D.  R.  A.,  30,  Fig.  12;  R.,  D.  R.,  172;  Sc.  FI , III, 
160:  Ridia,  III,  191-230:  S.,  tit,  Abb.  120. 


Fig.  2. — The  S.  Gaetano  Madonna. 


6 


ANDREA  DELLA  ROBBIA 


3 SAME  SUBJECT.  Newport,  R.  L,  Mrs.  O.  H.  P.  Belmont  Collec- 
tion. H.,  0.95m.;  W.,  0.55m.  Photo.,  Private. 

This  fine  relief  (Fig.  3),  was  formerly  in  the  collection  of  M.  Émile 
Gavet,  Paris.  The  subject,  the  seated  Madonna  with  the  draped  Child 
blessing,  is  the  same  as  that  at  S.  Gaetano,  but  the  differences  of  treatment 
make  of  it  a variant  rather  than  a replica.  The  Trinity  is  less  symbolically 
expressed.  Instead  of  the  symbolic  hands  alone  the  crowned  head  of  God 
the  Father  appears  with  outstretched  arms  rising  from  the  clouds,  sur- 


Fig.  3. — The  Belmont  Madonna. 


ANDREA  DELLA  ROBBIA  7 

rounded  by  six  nimbed  cherub  heads,  like  a translation  of  the  earlier  relief. 
The  Dove,  with  a small  nimbus,  is  thrown  slightly  into  profile,  to  harmonize 
with  the  pose  of  the  Father  and  of  the  Madonna.  The  Madonna  and 
Child  are  provided  each  with  a nimbus.  Their  poses  and  the  details  of 
their  costumes  are  not  directly  copied  from  those  of  the  S.  Gaetano  Ma- 
donna, but  are  slightly  varied.  The  chair,  which  in  the  earlier  relief  ex- 
hibited one  of  its  sides  carved  like  the  pulvinus  of  an  Ionic  capital,  is  here 
more  summarily  expressed.  Only  the  rosette  in  front  is  visible.  The  use 
of  colour  is  also  slightly  different.  The  sky  is  a darker  blue,  and  the  clouds 
reduced  in  number.  The  colouring  of  the  eyes  with  dark  pupils  and  dark 
irises  does  not  differ  from  that  in  the  S.  Gaetano  relief.  The  border  of  the 
Virgin’s  mantle  and  her  girdle  were  once  ornamented  with  gold. 

Bibl.  : 

C-M.,  281  no.  474  note;  M.,  D.  R.  A.,  30,  Fig.  1 1 ; Molinier,  Cat. 

Gavet,  3,  PI.  1. 

4 SEATED  MADONNA  WITH  NUDE  CHILD  HOLDING  A BIRD. 

Florence,  S.  Egidio.  H.,  0.90m.;  W.,  0.50m.  Photo.,  Alinari,  No. 
2195. 

The  Hospital  of  S.  Maria  Nuova  was  founded  in  1287  on  land  pur- 
chased from  the  Frati  di  S.  Egidio,  whose  church  is  still  connected  with 
the  Hospital.  For  this  church  in  1442  Luca  della  Robbia  had  made  the 
marble  ciborio  now  at  Peretola,  and  the  Gallery  of  the  hospital  formerly 
contained  fine  reliefs  by  Luca  and  Andrea,  now  transferred  to  the  Museo 
Nazionale.  In  1464  the  hospital  appears  to  have  been  overcrowded  and 
special  appropriations  were  made  for  extra-mural  annexes  for  those  afflicted 
with  contagious  diseases,  especially  the  plague.  It  is  cjuite  possible  that 
this  Madonna  (Fig.  4)  was  set  up  as  a thank  offering  by  some  one  who 
had  been  cured. 

As  a type  it  is  certainly  to  be  classed  with  Andrea’s  early  Madonnas.  It 
shows  the  mantle  with  the  same  triangular  fold  above  the  forehead,  clasped 
with  an  oval  brooch  not  unlike  that  which  Luca  had  used  at  S.  Pierino  ; 
the  linen  girdle  ; the  bared  knees  ; the  chair  terminating  in  a scroll  and 
decorated  in  front  with  a rosette.  In  type  this  Madonna  is  to  be  classed 
with  the  Annunziata  in  the  Niccolini  altarpiece  at  La  Verna.  The  Child, 
in  every  detail  except  pose  and  motive,  is  the  counterpart  of  the  Child  of 
the  Madonna  of  the  Architects  (1475).  Overhead  in  the  midst  of  plastic 
clouds  is  the  Holy  Dove. 

I he  motive  of  this  relief,  the  Child  holding  a bird,  is  of  considerable 
antiquity.  It  was  not  uncommon  in  the  XIV  century  and  became  very 


ANDREA  DELLA  ROBBIA 


popular  during  the  entire  period  of  Andrea’s  artistic  career,  as  may  be  seen 
by  comparing  this  relief  with  those  of  the  same  subject  at  Rickmansworth, 
at  Stia,  at  Viterbo — not  to  speak  of  many  school  reproductions.  In  the  blue 
of  the  background  Andrea  has  reached  a hue  to  which  he  long  adhered. 


Fig.  4. — The  S.  Egidio  Madonna. 


ANDREA  DELLA  ROBBIA 


9 


For  the  pupils  of  the  Madonnas’  eyes  he  uses  a copper  lustre,  and  for  the 
irises  a gray  blue. 

Bibl.  : 

B.,  Kf.,  1 6,  24;  Ital.  Bildh.  Ren.,  84;  Denk.,  82,  Taf.  253;  IV.  d.  K., 
8,  Taf.  34;  Burl.,  56,  107;  C-M.,  106,  207  No.  13;  Cr.,  195-196,  325; 
M.,  D.  R.  A.,  35,  Fig.  13;  R.,  D.  R.,  202;  Sc.  FI.,  Ill,  174,  184;  S., 
in;  V.,  VI,  580,  Fig.  381. 


Fir,.  5. — The  Simon  Madonna. 


5 MADONNA  WITH  NUDE,  STANDING  CHILD  HOLDING  A 
SCROLL;  FOUR  ANGELS.  Berlin.  Kaiser-Friedrich  Museum, 
No.  99  (I,  4997).  Round-headed  relief.  LI.,  0.80m.;  W.,  0.49m. 
Photo.,  Museum. 

This  relief  (Fig.  5)  formerly  in  the  Seillière  (Paris),  Heckscher  (Ber- 
lin), and  James  Simon  (Berlin)  collections  was  acquired  by  the  Museum 
in  1904. 


IO 


ANDREA  DELLA  ROBBIA 


The  subject,  the  Madonna  with  the  Child  bearing  a scroll  inscribed 
EGO  ♦ SVM  ♦ LVX  ♦ M(VNDI),  had  inspired  several  of  Luca’s  Ma- 
donnas (Altman,  Via  dell’ Angelo,  Innocenti,  Urbino,  Bronze  Doors),  but 
was  not  popular  with  Andrea.  It  occurs  again  only  once;  in  a relief  in  the 
collection  of  Mr.  Paul  Chalfin,  New  York.  Adoring  angels  were  intro- 
duced by  Andrea  into  Adoration  scenes,  Coronations,  Assumptions,  Cru- 
cifixions, but  seldom  as  here  and  in  the  Varamista  altarpiece  into  simpler 
representations  of  the  Madonna.  The  Dove,  the  clouds,  the  type  of  the 
Madonna,  the  pose  of  the  Child  link  this  relief  with  the  Madonna  and 
Child  with  a Bird,  in  S.  Egidio,  and  with  others  of  Andrea’s  early  Ma- 
donnas. The  elaborate  gilding  appears  to  be  modern,  and  as  a restoration 
is  only  partially  successful. 

Bibl.  : 

B.,  Denk.  83  Taf.  256;  Foratti,  Rass.  d’Arte,  XIX(i9i9);  Katalog 
d.  Samml.  J.  Simon,  No.  25;  Schottmuller,  No.  99;  S.,  112,  Abb. 
121;  Seillière  Cat.,  13  No.  1 ; Tschudi  83,  226,  Taf.  60;  V.,  VI,  580, 
Fig.  387. 

6 FOUNDLINGS  IN  SWADDLING  CLOTHES.  Florence.  Ospedale 
di  S.  Maria  degli  Innocenti.  Diam.,  ini.  Photo.,  Alinari,  3168- 
3178;  Brogi,  4759,  12610-12612,  12919-12925,  4697-4706.  Casts, 
Cantagalli,  291,  301;  Ginori,  252-263  ; Lelli,  408  (4  subjects). 

The  faqade  of  the  Innocenti  Hospital,  as  designed  by  Brunelleschi  in 
1420,  exhibited  a raised  porch  or  arcade  of  nine  arches  limited  on  the  north 
and  south  by  closed  walls,  each  containing  a door  and  window  and  framed 
by  colossal  pilasters.  The  wall  to  the  north  blocked  the  passage  from  the 
open  Piazza  della  Annunziata  to  the  Via  della  Colonna  ; and,  although  it 
was  ordered  removed  in  1495,  remained  a closed  wall  until  1599  and  1600. 
The  wall  to  the  south  was  extended  under  Brunelleschi’s  successor  Fran- 
cesco della  Luna  at  some  time  between  1427  and  1440.  This  extension, 
condemned  on  aesthetic  grounds  by  Brunelleschi’s  biographer  Manetti  in 
1480,  remained  unchanged  as  late  as  1819 — as  we  may  judge  from  the 
frontispiece  of  Bruni’s  Storia  dell’ Ospedale  degl’innocenti — possibly  as 
late  as  1842  to  1845  when  the  Hospital  underwent  restoration.  This  later 
change  consisted  in  making  an  arched  opening  in  the  space  immediately 
south  of  the  raised  porch  and  transferring  the  door  to  the  last  and  southern- 
most compartment. 

Brunelleschi  had  designed  that  the  spandrels  of  the  arches  of  the  raised 
porch  should  be  filled  with  tondi  or  medallion  frames  which  might  con- 
tain sculptural  decoration  (Fig.  6).  These  circular  frames  seem  to  have 


ANDREA  DELLA  ROBBIA 


1 1 

remained  unfilled  for  some  years,  as  we  may  infer  from  the  documents 
published  by  Fabriczy  from  the  Libri  della  fabrica  della  muraglia,  which 
form  a record  of  the  building-  from  1419  to  1451  and  make  no  mention  of 
the  now  famous  sculptured  bambini.  These  were  added  at  a later  date,  but 
at  precisely  what  time  is  more  difficult  to  determine  * That  Andrea  della 
Robbia  is  the  author  of  them,  as  Vasari  asserts,  is  universally  admitted. 
The  generally  accepted  date,  1463-1466,  is  based  upon  Cavalluccio  state- 


Fig.  6. — The  Innocenti  Hospital. 


ment  that  in  the  year  1466  the  hospital  was  bankrupt  and  by  1483  many 
foundlings  died  for  want  of  food.  I do  not  know  from  what  source  Caval- 
lucci obtained  this  information.  The  hospital  was  under  the  protection  of 
and  obtained  its  resources  chiefly  from  the  Arte  di  Por  Santa  Maria,  better 
known  as  the  Arte  della  Seta.  We  are  told  by  Benedetto  Dei  (Cronaca  22- 
44)  that  in  1472  this  guild  of  silk  merchants  controlled  eighty-four  work- 
shops, including  sixteen  thousand  operatives  and  superior  workmen  in  the 
city  of  Florence  and  its  immediate  vicinity.  That  they  devoted  much  care 
to  this  hospital,  would  appear  from  its  continued  development.  In  1485 

14-^7,  A.  ^ c * Ac"  c L eli 

IC'-c 

A « ? t cc-  iAv 


f 


CS^  0^- 


u 


IL  Wv 


. ^ i n 


12 


ANDREA  DELLA  ROBBIA 


the  hospital  was  enlarged.  According  to  Bruni,  in  April  1444  it  contained 
two  hundred  and  sixty  foundlings,  and  by  1511  the  little  family  had  grown 
to  1200.  Del  Migliore  in  1684  gives  the  number  of  foundlings  and  their 
caretakers  as  between  3000  and  4000.  The  decoration  of  the  hospital  might 
well  have  occurred  in  the  seventies  or  eighties  when  the  resources  of  the 
Arte  della  Seta  were  in  its  most  flourishing  condition. 

One  who  stands  upon  the  Piazza  in  front  of  the  hospital  can  count  four- 
teen bambini,  of  which  four  are  modern  reproductions,  made  at  the  Ginori 
factory  at  Doccia  in  1845.  These  four  decorate  the  arch  of  1599-1600 
over  the  Via  della  Colonna,  and  the  arch  of  1842-1845  immediately  to  the 
south  of  the  raised  porch.  They  repeat  the  design  of  the  first  and  last 
medallion  in  Andrea’s  series  and  in  fact  repeat  themselves.  They  may  be 
readily  distinguished  from  the  originals  : ( 1 ) by  the  background,  which  in 
Andrea’s  medallions  is  composed  by  sectors  which  radiate  from  the  figure 
to  the  circumference,  whereas  in  the  Ginori  reproductions  (Figs.  17,  18)  a 
portion  of  the  background  follows  the  outline  of  the  figure;  (2)  by  the 
glaze,  which  in  the  modern  medallions  is  more  vitreous  in  character,  and, 
being  subjected  to  more  sudden  heat,  has  a crackled  surface;  (3)  by  the 
colours,  which  show  more  red  in  the  violets,  and  a different  shade  of  blue. 
The  eyes  of  the  Ginori  reproductions  show  a dark  line  for  the  lower 
lashes,  which  does  not  occur  in  the  originals.  Cavallucci  and  Molinier, 
Bode,  and  Venturi  unfortunately  publish  the  Ginori  reproductions  as  origi- 
nals. 

The  original  ten  (Figs.  7-16)  are  composed  as  follows:  At  each  end  is  a 
truncated  terminal  medallion  containing  a bambino  with  the  outer  arm  bent, 
and  the  other  extended  in  the  direction  of  the  remaining  medallions.  In 
all  the  completely  round  medallions  both  arms  are  extended,  as  if  appealing 
for  mercy.  There  is  little  variety  in  character  or  expression.  All  evince 
the  same  temperament.  It  is  the  swaddling  bands  that  vary  and  the  colours 
of  the  wrappers  which  alternate  regularly  from  violet  in  one  medallion  to 
blue  in  the  next — except  in  the  last  pair  where  both  are  violet. 

If  we  compare  these  bambini  with  Luca’s  putti  which  serve  as  supporters 
of  the  arms  of  the  Arte  della  Seta  on  Or  San  Michele,  we  can  readily  de- 
tect the  change  from  Luca’s  representations  of  child  life.  Luca’s  are  more 
plastic,  more  alive;  Andrea's,  while  full  of  charm,  are  posed  with  view  to 
decoration.  Even  so  slight  a detail  as  the  colouring  of  the  eyes  is  not 
without  significance.  In  spite  of  the  fact  that  his  medallion  was  to  be  set 
high  above  the  ground,  Luca  marked  the  irises  of  the  eyes  of  these  winged 
putti  with  the  same  blue  with  which  he  delighted  to  paint  the  eyes  of  the 
Virgin.  Andrea  almost  never  painted  the  iris  blue  and  here  seems  to  have 
massed  pupil  and  iris  together  as  was  frequently  done  by  his  followers. 

If  one  should  compare  these  bambini  with  the  heads  of  cherubs  with 


\NDREA  DELLA  ROBBIA 


13 


Fig.  8. — Foundling. 


Fig.  7. — Foundling. 


Fig.  9.— Foundling.  Fig.  10. — Foundling. 


14 


ANDREA  DELLA  ROBBIA 


which  Andrea  decorated  the  frames  of  his  reliefs,  or  with  his  representa- 
tions of  the  Christ  Child,  it  is  not  easy  to  find  the  exact  place  in  the  series 
to  which  they  belong.  It  is  simpler  to  compare  them  with  two  specific 
examples  of  the  Christ  Child  both  clad  as  here  in  swaddling  clothes.  One 
of  these  is  found  in  S.  Gaetano  in  the  chapel  of  the  Berteldi.  This  relief 
is  undoubtedly  an  early  Andrea,  retaining  much  of  Luca’s  dignity.  The 
other  relief  is  in  Newport,  R.  I.,  in  the  Belmont  (formerly  Gavet)  collec- 
tion. Here  in  the  upper  portion  of  the  background  God  the  Lather,  the 
Dove,  and  a halo  of  cherubs  are  figured  somewhat  a in  the  La  Verna  Ado- 
ration altarpiece.  These  reliefs  we  have  assigned  to  the  decade  1470-1480 
during  which  period  the  Innocenti  bambini  were  probably  set  in  place. 


Documents  : 

Aloghagione 
deglocchi  archi- 
trave e cornice 


tutto  il  detto 
lavorio  an(n)o 
dettj  albizo  e 
betto  còpiuto 
e murato  alquale 
glop(er)ai  an(n)o' 
posto  il  pregio 
questo  dj  24 
dap(ri)le  1425 
chome  apare  al 
quaderno  b c 163 
i quale  pregio 
e questo 
p(er)  ciascuno 
occhio  f 2 
del  bia  (braccia) 
dellacornice 
1 5 s 4 e a còcio 
a ragione  de 
dettj  I questo 
c go 

e posto  càcello 
questa  allogha- 
gione 


[Copied  by  Mr.  Rufus  G.  Mather.] 

1.  “Mcccc0  xxiiij0 

Ricordo  che  adi  6 di  maggio  p(er)  gloperai  dello  spedale 
fu  aloghato  a albizo  dipiero  et  a betto  dantonio  scarpellatorj 
cioè  a ciascuno  di  loro  la  meta  p(er)  diviso  dello  Trascritto 
1 lavorio  cògli  ifrascritti  pattj  e modj  cioè 
\ albizo  cìque  ochi  dicòcio  iquali  stano  a mettere  fra 
glarchi  del  còcio  che  sono  sopra  il  porticho  dello  spedale 
cioè  1 1 5 1 occhj  hanò  andare  verso  e dalato  della  casa  dellavo- 
ratore  delorto  e la  meta  d(e)llarchitrave  e della  cornice  del 

[còcio 

ha  andare  I sulle  coloné  quadre  e i su  dettj  archi  cioè  la  parte 
della  prima  colonà  quadra  che(ch’è)  dalla  parte  della  casa 
delsopradecto  lavoratore  I sino  al  mezo  deglarchi  sopradettj 

[cioè 

i sino  almezo  e I sulmezo  del  qulto  archo  del  detto  porticho  et 
A betto  dantonio  laltra  meta  del  sopradetto  lavorio  cioè  5 

[occhj 

e architrave  e cornice  hanò  andare  dalmezo  del  quito  archo 

[ì  sino 

alla  colona  quadra  ultima  che(ch’è)  verso  santa  Rip(ar)ata 
ilquale  lavorio  a astare  ala  propia  forma  e modo  che  quello 

[dalbizo 

LI  detto  lavorio  cioè  glocchi  tondj  e scorniciati  e beligli 

[(belli) 

chome  sara  il  modello  e la  forma  dara  loro  filippo  di  ser  bru- 
nelescho  e debbono  essere  ciascuno  dettj  occhi  gràdj  di  giro 

[p(er) 

modo  che  tocchino  il  giro  deglarchi  e disopra  larchitrave 


ANDREA  DELLA  ROBBIA 


Fig.  ii. — Foundling. 


Fig.  12. — Foundling. 


Fig.  14. — Foundling. 


Fig.  13. — Foundling. 


ió 


ANDREA  DELLA  ROBBIA 


El  sopradetto  architrave  debbe  essere  alto  % di  braccio 

[elargirò  p(er) 

loverso  del  suo  giacere  cioè  q(u)ella  parte  che  posa  ì sul 

[colmo 

deglarchi  2/3  di  braccio  ella  cornice  che  va  sopra  il  detto 

[architrave 

debbe  essere  alta  di  braccio  e scorniciata  ebbella  secòdo  il 
modano  del  detto  filippo 

I lquale  lavorio  debbe  essere  tutto  di  salda  grossa  e buona 

petrina  e bene  lavorati  e nettj  e bene  pulitj 

Et  tutto  il  detto  lavorio  debbono  dare  fatto  cioè  ciascuno  la 

[sua 

parte  a tutte  loro  spese  di  pietre  e dognaltra  cosa  e posto 
elavorato  a pie  dello  spedale  p(er)  di  qui  adj  15  daghosto 

[1424  e debbe 

essere  tutto  recipiète  a uso  dj  buono  maestro  e a chiarigione 
deglop(er)ai 

Et  dj  poi  il  debbono  murare  cioè  ciascuno  la  parte  sua  de 
dettj  occhi  e architrave  e cornice  e porlo  su  e còmetegli  bene 
a tutte  loro  spese  salvo  che  dj  calcina  o piòlo  (pinolo)  o fera- 
méto  a quello  tenpo  e quàdo  sara  dj  piacere  de  dettj  o p(er)ai 
e ì caso  nollo  ponesino  su  al  tenpo  parra  a dettj  op(er)ai  il 
possono  fare  murare  e pollo  a tutte  spese  e danò  de  dettj 

[maestri 

Et  del  detto  lavorio  e còcio  debbono  avere  quello  prezo  e 

[pregio 

che  parra  e sara  deliberato  p(er)  Inficio  de  dettj  op(er)ai 

[neiquale 

ufìcio  e dettj  albizo  e betto  liberamente  si  rimettono  chome 

[dj 

tutto  apare  al  quaderno  dellop(er)a  sto  b c.  3 

nota  posto  il  detto  pregio  chome  apare  qua  in  margine” 
[Archivio  dello  Spedale  degl'  Innocenti,  Libro  Deb.  e 
Cred.  della  Muraglia  segnato  B,  T421-1435,  c.  177  .] 


2.  “Mccccxxxviiij" 

Pesello  di dipintore  deve  dare 

adi  18  di  magio  1 iiii"  p(er)  noj  da 
nicbolo  mori  cani'’  posto  debe 
avere  alquaderno  sto  d c.  59-  1 4 s—” 


“Mccccxxxviiij" 

Pesello  di dipintore  de  avere 

adi  18  di  magio  1 q(u)atro  e quali 
sono  p(er)  dipintura  delarme  delarte 
al  quaderno  giallo  s'"  e c 7 — 1 4 s 

posto  la  muraglia  deba  dare  i questo  c 65’ 
[Archivio  idem,  Libro  di  Muraglie 
1439-1450,  c.  io'  e 11.] 


ANDREA  DELLA  ROBBIA 


Fic.  15. — Foundling. 


Fig.  16. — Foundling. 


Fig.  i 7. — Ginori  Reprodltction. 


Fig.  18. — Ginori  Reproduction. 


i8 


ANDREA  DELLA  ROBBIA 


3.  ‘‘Mcccc°xxxviiii" 

Lopera  di  san  ma  delfiore  deve 
dare  adi  22  dachosto  1 dodicj  porto 
ghualterone  proveditore  di  detta 
opera  p(er)  noj  gli  pagho  nicholo 
morj  cam"  posto  debbj  avere 
al  quaderno  d c.  63  — 1 12  s 


23-] 


"Mccccxxxviiii° 

Lopera  di  santa  maria  delfiore 
de  avere  adi  ....  di  magio 
p(er)  marmo  bianc°  e rosso  p(er) 
fare  lamie  delarte  cioè  a pte (parte) 
nelafacia  delospedale  p(er) 
tutto  dachordo  choloro  e 
franc0  delaluna  ne  fa 

mezano  — ■ — - f 1 12  s — 

posto  lamuraglia  debe  dare 
ì questo  c 65  (this  note  by  a different 
hand) 


[Idem,  idem  c 22 
Bibl.  : 

Arte  della  Seta,  Libri  della  Muraglia,  A-E;  B.J.,  63;  B-C.,  41 1 ; B., 
Denk.,  81-82,  Taf.  248-249;  Kf.,  16,  24;  IV.  d.  R.,  8,  Taf.  29-32; 
Bruni,  I,  5,  Vili;  Burckh.,  430;  Burl.,  55,  108;  C-M.,  80-91,  98-102; 
208  no.  19;  Cr.,  152-154,  326;  D.  D.,  30  Abb.  44;  Fabr.,  A.  S.  A., 
IV(i89i),  291-300  (Doc.)  ; J.  k.  p.  K.,  XXVIII (1907),  Beih.,  56-58 
(Doc.);  Br.,  250-259,  252-283;  Mise.  d'Arte,  1903,  210-211  (Doc.); 
Fov.,  99-100,  Fig.  85;  Geym.,  I,  7-10;  II,  3;  Michel,  IV,  121;  del 
Migliore,  307-316;  R.,  D.  R.,  154-156;  Sc.  FI.,  Ill,  146-149;  Richa, 
VIII,  125-126;  von  Rumohr,  II,  295  note;  S.,  113,  Abb.  125-126; 
Vas.,  II,  180;  V.,  VI,  583-594,  Figs.  499-501;  Z.  /.  C.  K.,  XX(i88s), 
21. 


7 MADONNA  OF  THE  ARCHITECTS.  1475.  Florence.  Museo 
Nazionale,  No.  74.  Round-headed  relief.  H.,  1.34m.;  W.,  96m. 
Photos.,  Alinari,  No.  2761;  Brogi,  Nos.  4448,  9469.  Casts,  Canta- 
galli,  289,  375  ; Felli,  415. 

On  the  fourth  of  March,  1475  (Old  style,  1474),  the  consuls  of  the  Arte 
dei  Maestri  di  Pietra  e di  Legname  authorized  a payment  of  ten  large 
florins  for  an  image  of  the  Madonna  which  they  had  commissioned  Andrea 
della  Robbia  to  make  to  replace  the  antiquated  Madonna  in  their  audience 
chamber.  For  many  years  Luca  della  Robbia  had  been  a member  of  this 
guild,  but  was  beginning  to  feel  the  weight  of  years  and  on  that  account 
in  1471  had  declined  to  serve  as  its  consul.  His  nephew  Andrea  was  ad- 
mitted a member  of  the  guild  on  the  sixteenth  of  September,  1458,  and  be- 
tween the  years  1469  to  1525,  the  year  of  his  death  he  served  more  than 
thirty  times  as  a member  of  the  council,  three  times  as  syndic  and  once  as 
treasurer. 

In  the  Museo  Nazionale  there  is  a Madonna  in  a frame  adorned  with  the 


ANDREA  DELLA  ROBBIA  19 

square,  the  axe,  the  mallet  and  trowel,  emblems  which  Luca  della  Robbia 
had  combined  with  rare  skill  in  the  medallion  of  the  Stone  Cutters  and 
Wood  Carvers  on  the  exterior  of  Or  San  Michele.  There  can  be  little 
doubt  therefore  that  we  have  in  this  relief  (Lig.  19)  the  Madonna  ordered 


of  Andrea  della  Robbia  in  1475.  In  the  sixteenth  century  the  guilds  suf- 
fered great  transformations.  Probably  then  the  Madonna  passed  into  other 
hands.  It  had  been  in  the  offices  of  the  Dogana  in  the  Palazzo  Buontalenti 
when  in  1865  it  passed  into  the  Museo  Nazionale. 

d he  garland  of  single  and  double  roses  rising  from  chanelled  vases  does 


Fig.  19. — Madonna  of  the  Architects. 


20 


ANDREA  DELLA  ROBBIA 


not  exhibit  the  variety  of  Luca’s  floral  frame  for  the  Via  dell'Agnolo 
lunette,  nor  is  it  as  conventional  as  is  usual  with  Andrea’s  garlands.  Al- 
though somewhat  monotonously  conceived  and  flat  in  modelling,  it  was 
successful  enough  for  Andrea  to  have  repeated  it  in  the  frames  for  the 
tabernacle  in  S.  Simone,  the  tondo  the  Louie  collection,  the  Salviati  stemma 
at  S.  Giovanni  Valdarno,  the  Cintola  altarpiece  at  La  Verna  and  other 
monuments.  The  frame  forms  a niche,  the  inner  sides  and  top  of  which 
are  decorated  with  nine  nimbed  cherub  heads.  Thus  one  of  Andrea’s  favo- 
rite motives  is  found  in  connection  with  his  earliest  dated  Madonna. 

The  subject  of  the  relief  might  be  described  as  the  Madonna  of  the 
Apple  were  it  not  for  the  fact  that  no  apple  is  in  evidence.  Luca  della 
Robbia  in  the  Madonna  of  the  Apple  in  the  Berlin  Museum,  and  in  the 
Cappuccini  tondo  in  the  Museo  Nazionale,  had  represented  the  Christ  Child 
as  holding  an  apple  in  one  hand  while  drawing  the  other  hand  to  his 
mouth — a symbol  that  the  Christ  shared  with  all  human  beings  the  taste  of 
the  fruit  of  the  tree  of  knowledge  of  good  and  evil.  Andrea,  with  less 
attention  to  significance,  omits  the  apple  but  retains  the  finger  in  the 
mouth,  a gesture  that  suggests  to  Marcel  Reymond  a child  with  the  tooth- 
ache ! Andrea  and  his  patrons  were  so  pleased  with  this  motive  that  he 
repeated  it  several  times  : in  lunettes  at  Prato  Cathedral,  in  the  Opera  del 
Duomo  (both  1489),  and  in  altarpieces  at  Prato  and  Gradara  Rocca. 

In  modelling  and  composition  Andrea  follows  his  uncle  in  draping  the 
Madonna’s  mantle  over  her  head,  in  fastening  it  with  a cord,  in  the  twisted 
linen  girdle  and  other  details,  but  he  introduces  new  motives  in  seating  her 
upon  a folding  chair,  exhibiting  her  bare  knees  to  view,  and  in  placing 
over  the  heads  of  the  group  the  symbols  of  God  the  Lather  (outstretched 
hands)  and  of  the  Holy  Spirit  ( Dove).  Unlike  Luca  he  spreads  blue  gray, 
black  shadowed  clouds  all  over  the  background,  and  gives  the  Madonna’s 
eyes  dark  blue  brows  and  yellow  irises. 

Document: — [Revised  by  Mr.  Rufus  G.  Mather.] 

“In  dei  Nomine  Amen  anno  domini  MCCCCLXXIIII 

Inditione  Vili  et  die  V mensis  Marzii 


■presentant  in  sufficienti  numero 
congregati  in  dicta  arte  secundum  ordinem  diete  artis 
deliberaverunt 

Che  considerato  che  nelaudienzia  di  decta  arte  è 
una  imagine  di  nostra  donna  la  quale  per  antiquità 
è mancato  et  semdo  in  simil  forma  ne  segue  piutosto 
caricho  alarte  che  no.  Et  però  avendo  e nostri  Signori 
Consoli  allogato  ad  Andrea  di  marco  delarobbia  a fare 


corpus  artis  et  qui  dictam  artem 


ANDREA  DELLA  ROBBIA 


21 


una  immagine  dinostra  donna  in  decto  luogho  apta  et 
capiente  (or  this  word  may  be  recipiente)  alluogho  et  allonore 
di  decta  arte  che  da  ora  s'intenda  stanziato  per  decta 
cagione  insino  nellasomma  di  fiorini  dieci  larghi 
e quali  si  debbino  et  possino  pagare  add  Andrea  per 
decta  cagione  per  qualunche  camerario  di  decta  arte, 
et  mancandovi  che’  Consoli  che  pe’  tempi  saranno  possino 
stanziare  insino  adonterò  pagamento." 

[Deliberazioni  dell'  Arte  de'  Maestri  di  Pietra  e di  Legnami,  Archivio 
di  stato  di  Firenze,  Arti  n,  Cod.  3,  c.  27.] 

Bibl.  : 

Burl.,  in;  C-M.,  108,  215  No.  60;  Cr.,  181,  325;  Fov.,  102;  M., 
R.  H.,  25-26;  Mesnil,  Mise.  d’Arte,  1903,  208-2 io ( Doc.)  ; Michel. 
IV,  124;  R„  D.  R.,  166-167;  Se.  Fi,  Ili,  157;  S„  ni,  Abb.  118; 
Supino,  451  No.  74. 

8 MADONNA,  CHILD  AND  SAINTS.  Berlin.  Kaiser-Friedrich- 
Museum,  No.  98  (I,  147).  Altarpiece.  LI.,  1.78m.;  W.,  1.83111. 
Photo.,  Berlin  Museum. 

Purchased  in  England  in  1885.  Originally  in  a private  chapel  at  Var- 
ramista  near  Pisa. 

The  central  relief  (Fig.  20)  exhibits  the  Madonna  in  full  figure  seated 
on  clouds,  and  holding  a nude  Child  who  stands  on  her  lap.  Her  nimbus 
and  hair  were  gilded,  and  gold  ornament  is  still  found  on  her  kerchief, 
girdle,  sleeves,  and  border  of  mantle.  Her  eyes  show  dark  blue  brows 
and  lashes,  and  light  yellow  irises.  The  Child,  also  nimbed,  throws  his 
left  arm  about  his  mother’s  neck  and  with  the  right  plays  with  her  kerchief, 
a motive  which  occurs  with  variations  in  many  of  Andrea's  Madonnas. 
Above  are  four  adoring  angels,  emerging  from  clouds.  On  either  side, 
standing  upon  the  ground  (though  white  in  colour),  are  S.  Francesco  to 
the  left,  holding  a cross  and  pointing  to  his  wounded  side,  and  S.  Cosma 
holding  a green  palm  and  an  apothecary’s  box.  S.  Francesco  is  represented 
as  sympathetically  as  in  the  statues  of  S.  Francesco  at  Assisi  and  at  La 
Verna.  His  cross  recalls  that  held  by  Faith  in  Luca’s  medallion  in  the 
ITeilbronner  Galleries.  S.  Cosma  balances  the  composition,  being  here  rep- 
resented as  equal  in  importance  to  S.  Francesco.  The  borders  of  his  collar 
and  mantle  are  charmingly  decorated  with  gold.  He  reflects  the  dignity 
of  the  Pazzi  chapel  Apostles. 

The  frame  also  indicates  an  early  period  in  Andrea’s  career.  The  pilas- 


22 


ANDREA  DELLA  ROBBIA 


ters  decorated  with  painted  garlands  recalls  Luca's  tomb  of  Benozzo  Fed- 
erighi and  his  Pescia  altarpiece,  but  this  type  of  decoration  was  too  un- 
conventional to  find  a fixed  place  in  Andrea's  repertoire.  He  ornamented 
predellas  in  this  fashion,  but  never  again  the  pilasters  of  an  altarpiece. 


Fig.  20. — The  Sassetti  Altarpiece. 


The  capitals  of  the  pilasters  represent  a fixed  form  which  he  repeated  in 
the  Canigiani  and  in  the  Assisi  altarpieces.  The  frieze  shows  the  influence 
of  Luca’s  preference  for  lilies  and  white  roses,  as  in  the  S.  Pierino  and  the 
Lia  dell'Agnolo  lunettes,  composed  in  naturalistic  not  conventional  bunches, 
and  diverging  from  the  centre  to  left  and  right,  as  in  the  Federighi  tomb, 
the  Impruneta  tabernacle  and  the  Pescia  altarpiece. 

The  predella  contains  three  polychromatic  scenes:  (i)  S.  Francesco  re- 

ceiving the  stigmata.  It  is  represented  more  simply  than  in  the  Canigiani, 
the  Assisi,  and  S.  Fiora  altarpieces.  (2)  The  Nativity  or  Adoration  of  the 


ANDREA  DELLA  ROBBIA 


23 


Child  by  S.  Giuseppe  and  S.  Maria.  (3)  The  martyrdom  of  S.  Cosma. 
These  three  scenes  are  directly  related  to  the  figures  of  the  central  relief. 
They  are  separated  from  each  other  by  upright  bands  or  pilasters  almost 
devoid  of  decoration.  Those  at  either  extremity  contain  the  Sassetti  arms  : 
Argent,  a bend  azure  fimbriated  or.  It  is  not  difficult  to  guess  which  mem- 
ber of  the  Sassetti  family  erected  this  altarpiece,  when  we  recall  that  Fran- 
cesco di  Tommaso  Sassetti  who  was  a Prior  in  1460  and  renovated  the 
Sassetti  Chapel  at  S.  Trinità  in  i486,  had  a son  Cosimo  who  was  probably 
named  after  Cosimo  de'Medici  Pater  Patriae,  who  died  in  1464.  It  is 
not  unlikely  that  Cosimo  Sassetti  was  born  in  this  decade  since  he  became 
a Prior  in  1503,  1523,  1524  and  1527.  This  altarpiece  might  well  be  a 
thank  offering  for  his  birth  and  the  association  of  SS.  Francesco  and 
Cosma  be  explicable  as  the  patron  saints  of  the  donor  and  his  son. 

Bibl.  : 

Amtl.  Ber.,  1886,  XXXV;  B.,  J.  k.  p.  K.,  VII(i886),  206-210,  Taf. 
206;  It.  PL,  93-94;  Denk.,  83-84,  Taf.  257;  ÌV.  D.  R.,  Taf.  36;  B- 
Tsch.,  No.  1 18;  C.,  s.v.  Sassetti;  Cr.,  163  note  1,  186,  325;  D.  D.,  33, 
Abb.  48;  M.,  R.  H.,  14,  15;  Michel,  IV,  124;  Pr.,  842-843;  R.,  D.  R., 
204-205;  Sc.  FI.,  Ill,  175-176;  Schott.,  42-43,  No.  g8(I,  147);  V., 
VI,  589,  Fig.  396;  W.,  173. 

9 MADONNA  WITH  NUDE,  STANDING  CHILD.  Florence.  Museo 
Nazionale,  No.  52.  PI.,  0.53m.;  with  console,  0.80m.  Photos.,  Ali- 
nari,  2726;  Brogi,  9483. 

This  relief  (Fig.  21)  came  to  the  Museum  on  June  12,  1867,  from  the 
monastery  of  S.  Giovanni  Battista  at  Desole  or  Dedolo.  It  is  a slightlv 
modified  copy,  in  half  figure,  of  the  Varramista  Madonna  in  the  Berlin 
Museum. 

1 he  console  on  which  it  rests  is  a product  of  Giovanni’s  atelier.  A simi- 
lar console,  perhaps  a modern  copy,  is  in  the  Museum  at  Toledo,  Ohio. 


Bibl.  : 

Burl.,  no;  Cr.,  339;  R.,  D.  R.,  203;  Xc.  FI.,  Ill,  174;  Supino,  448 
No.  52. 

10  STAILE  OF  S.  FRANCESCO.  Assisi.  S.  Maria  degli  Angeli 
Cappella  di  S.  Francesco.  PI.,  1.25  mm.  Photo.,  Alinari,  20017. 

This  statue  (Fig\  22)  has  been  much  overpaiuted,  the  cross  red,  the  gar- 
ments a dark  brown.  But  fractures  in  the  painting  disclose  the  fact  that 


24 


ANDREA  DELLA  ROBBIA 


Fig.  2i. — Madonna,  Florence. 


this  was  applied  over  a white  glaze.  This  overpainting  has  been  recently 
removed  (1921).  The  statue  was  probably  painted  after  the  controversy 
between  the  Osservanti  and  the  Convenzionali  concerning  the  colour  of 
the  Franciscan  habit.  It  is  not  far  removed  in  date  from  the  triptych  in 
the  Cappella  di  S.  Giuseppe,  and  in  technique  as  well  as  in  sentiment  may 
be  classed  with  the  S.  Francesco  at  La  Verna. 

Bibl.  : 

Cr.,  1 77,  325;  S.,  122,  Abb.  134. 


ANDREA  DELLA  ROBBIA 


25 


Fig.  22. — S.  Francesco,  Assisi. 


Il  MEDALLION  BUST  OF  A YOUTH.  New  York.  Metropolitan 
Museum.  Diam.,  .055m.  Photo.,  Private. 

This  fine  head  (Fig.  23),  formerly  in  the  collection  of  Count  G.  Strega- 
li off,  Rome,  then  in  that  of  Henry  G.  Marquand,  New  York,  was  acquired 
by  the  Metropolitan  Museum  in  1903.  The  frame  consists  of  a somewhat 
concave  wreath  of  pine  cones  alternating  with  quinces  and  oranges  arranged 
in  single  file,  as  was  the  case  at  S.  Giovanni  in  Valdarno  with  the  stemma  of 
Antonio  di  Lorenzo  Buondelmonti  (Fig.  136).  Like  many  of  Luca’s  tondi 
the  outer  moulding  is  decorated  with  an  egg  and  dart.  The  head  turned 
three  quarters  to  the  left  is  not  far  removed  in  type  from  the  medallion 


26 


ANDREA  DELLA  ROBBIA 


bust  of  a youth  in  the  Kaiser-Friedrich  Museum,  Berlin,  which  recalls  the 
decorative  heads  on  Luca’s  bronze  doors  in  the  cathedral  of  Florence. 
Face  and  hair  are  glazed  white,  eyebrows  and  lashes  blue,  pupils  violet 
brown,  irises  yellow.  The  tunic  is  a mottled  violet,  over  which  is  a light 


Fig.  23. — Bust  of  a Youth.  Metropolitan  Museum. 

blue  mantle  lined  green.  Who  the  youth  may  be  cannot  be  definitely  de- 
termined. On  the  bronze  doors  busts  of  this  general  type  are  called 
prophets,  though  probably  modelled  after  the  features  of  some  young 
Florentines.  This  head  is  closer  to  Luca’s  than  the  somewhat  similar  me- 
dallions in  the  Liechtenstein,  Lehman  and  Simonetti  collections. 

Bibl.  : 

Breck,  40-42;  Cr.,  349;  INF,  Cat.  of  Marqmnd  Coll.,  No.  1199; 
D.  R.  A..  89,  Fig.  37;  L.  D.  R .,  205-206. 

12  MEDALLION  BUST  OF  A YOUTH.  Berlin.  Kaiser-Friedrich 
Museum,  No.  75  (I,  2183).  Diam.,  0.555m.  Photo.,  Berlin  Museum. 


This  fine  medallion  (Fig.  24)  from  the  Torrigiani  collection  came  into 


ANDREA  DELLA  ROBBIA 


2 7 


the  possession  of  the  Berlin  Museum  in  1894.  Dr.  Bode  considers  it  a 
portrait;  Miss  Cruttwell,  a S.  Ansano  or  some  other  Boy-Saint.  Though 
finer  in  quality  than  the  medallion  busts  of  youths  in  the  Metropolitan 
Museum  and  the  Liechtenstein  Gallery  it  should  be  classed  with  them  as 
products  of  the  same  atelier.  Here  the  background  is  a pale  blue,  as  is 


Fig.  24. — Bust  of  a Youth.  Berlin. 


also  the  robe  or  breastplate,  the  mantle  is  violet  with  reverse  of  green.  The 
eyes  have  yellow  irises;  the  eyebrows,  lashes  and  pupils  are  violet.  The 
guiding  hand  of  Luca  della  Robbia  is  so  evident  in  the  execution  of  this 
bust  that  it  might  well  be  attributed  to  Luca  himself.  Originally  it  was 
probably  surrounded  by  a fruit  frame. 


Bibl.  : 

B.,  J.  K.  p.  K.,  NXI  (1900),  30-32;  Denkm.,  78-7 9,  Taf.  229: 
FI.  Bildh.,  161-162,  Abb.  88;  FI.  Sc.,  iio-m,  PI.  51;  Mus.,  II,  69. 
Taf.  138;  Cr.,  89,  323;  D.  D.,  21,  Abb.  29;  M.,  D.  R.  A.,  89,  Fig.  37; 
L.  D.  R.,  205-206;  Schottmiiller,  33-35,  No.  75  (I,  2183);  S.,  89, 
Abb.  100;  V.,  VI,  572. 

13  MEDALLION  BUST  OE  A YOUTH.  Vienna,  Liechtenstein  Gal- 
lery. Diam.,  0.36m.  Photo.,  Liechtenstein  Gallery. 


This  fine  medallion  (Fig.  25)  was  formerly  in  the  Antinori  collection  in 
the  Via  dei  Serragli,  Florence.  It  is  a variant  of  the  Berlin  Museum  and 


28 


ANDREA  DELLA  ROBBIA 


the  Metropolitan  Museum  medallions  representing  the  same  subject,  but  is 
more  plastic  and  somewhat  later  in  date.  The  eyebrow's  are  blue,  the  irises 
copper  coloured.  The  simple  tunic  is  green  and  the  mantle  a robin’s  egg 
blue  lined  violet,  and  held  together  by  a brooch  in  the  form  of  a rose.  In 


Fig.  25. — Bust  of  a Youth.  Liechtenstein  Gallery. 


spite  of  its  complex  character  the  wreath  appears  to  have  been  constructed 
in  only  three  sections  ; in  the  composition  of  fruit  and  flow'ers  the  triplex 
system  prevails,  but  without  the  ribbons  which  Andrea  usually  employed 
to  subdivide  his  wreaths  into  a series  of  distinct  bunches.  He  also  aban- 
doned the  use  of  exterior  framing  mouldings  of  architectural  character. 
The  egg  and  dart,  here  retained  within  the  wreath,  w'as  destined  also  to  be 
abandoned. 

Bibl.  : 

B.,  /.  k.  p.  K.,  XXI  (1900)  31  ; FI.  Bildh.,  162;  FI.  Sc.,  iio-m;  Cr., 
327;  Demaison,  Lcs  Arts.  1908,  No.  84,  1-4;  M.,  D.  R.  A.,  89; 
L.  D.  R.,  206. 

14  MEDALLION  BUST  OF  A YOUTH.  New  York,  Philip  Lehman 
Collection.  Diam.,  0.51. 

This  medallion,  formerly  in  the  Spitzer,  then  in  the  Rudolph  Kann  Col- 
lection, is  to  be  classed  wdth  the  Metropolitan  Museum  and  the  Liechtenstein 


ANDREA  DELLA  ROBBIA 


29 


Gallery  medallions  with  similar  portrait  busts.  The  egg  and  dart  moulding 
of  the  frame  is  here  omitted  and  the  wreath  is  more  summarily  treated, 
consisting  of  a single  file  of  pine  cones  and  leaves.  1 he  head,  set  against 
a dark  blue  ground,  is  turned  to  the  right  in  three-quarter  view.  The  tunic 
is  blue  and  the  mantle  violet.  The  type  of  head  is  not  unlike  that  of  the 
S.  Michele  from  Faenza,  now  in  the  Vieweg  Collection  at  Braunschweig. 

Bibl.  : 

Rudolph  Kami,  Objcts  d'Art,  I,  pi.  1;  Spitzer  Cat.,  No.  1291;  M., 
D.  R.  A.,  89;  L.  D.  R.,  206. 

15  MEDALLION  BUST  OF  A YOUTH.  Rome,  Simonetti  Gallery. 
Diam.,  0.80. 

Some  years  ago  I saw  at  Simonetti’s,  Rome,  a medallion  bust  of  a youth. 
The  frame  consisted  of  a wreath  in  high  relief  composed  of  grapes,  pome- 
granates, lemons,  pinecones,  quinces,  artichokes,  zucche — recalling  the 
frame  of  the  Liechtenstein  medallion.  The  youth  wore  a light  blue  mantle; 
the  background  also  was  light  blue. 

Bibl.  : 

M.,  D.  R.  A.,  89;  L.  D.  R.,  206. 


16  MEDALLION  BUST  OF  A LAUREATE.  New  York,  Bardini 
Sale  of  1918.  Diam.,  0.43m. 

This  bust  (Fig.  26)  was  withdrawn  from  the  Bardini  sale  in  London  in 
1902  and  sold  in  New  York  in  1918.  When  sold  in  New  York  it  was  set 
in  a fruit  garland.  It  is  to  be  classed  with  the  preceding  medallion  busts 
of  a youth.  It  represents  a victor  or  one  who  has  made  some  notable 
achievement.  He  is  crowned  with  laurel,  his  hair  is  quite  plastic,  his  eyes 
have  blue  brows  and  yellow  irises,  the  ribbons  of  his  laurel  crown  fall  in 
waving  lines.  He  wears  a blue  tunic  almost  entirely  concealed  by  a mantle, 
violet  lined  green. 

Bibl.  : 

Bardini  Sale  of  1902,  Cat.,  51 1,  pi.  21  ; Bardini  Sale  of  1918,  Cat.,  367. 

17  MEDALLION  OF  A LALTREATE.  Paris.  Louvre  (formerly 
numbered  G.  754.  No  number  in  1908).  Diam.,  0.40m. 

From  the  Campana  Collection.  Inferior  replica  or  copy  of  the  preced- 


30  ANDREA  DELLA  ROBBIA 

ing.  The  very  light  blue  tunic  is  covered  by  a green  mantle.  The  eyes 
have  yellow  irises. 

Bibl.  : 

C-M.,  448. 


Fig.  26. — Bust  of  a Laureate. 


18  MEDALLION  OF  THE  EMPEROR  ANTONINUS.  Turin. 

Museo  Civico.  Diam.,  0.70m. 

Within  a garland  of  pine  cones,  arranged  in  triplex  launches  separated  by 
blue  ribbons  and  bordered  by  architectural  mouldings,  is  a broken  medal- 
lion representing  the  Emperor  Antoninus  crowned  with  laurel  bound  by 
fluttering  ribbons.  Cloak  was  light  blue  lined  yellow.  The  eyes  had  blue 
brows,  lashes  and  pupils,  and  yellow  irises.  Inscribed  (A)NTONINYS  . 


ANDREA  DELLA  ROBBIA 


3i 


From  this  designation  we  may  infer  that  the  preceding  busts  of  laureati 
represent  ancient  Romans,  though  not  necessarily  Emperors. 

19  MEDALLION  OF  A WARRIOR.  Pesaro.  Museo  Ateneo  Pesa- 
rese. Diam.,  0.50m.  Photo.,  Private. 

A portrait  of  a condottiere  (Fig.  27).  Helmet,  face,  neck,  and  breast- 
plate are  glazed  white.  Over  the  shoulders  is  a green  cloak  lined  violet. 
Background  blue.  The  decoration  of  the  helmet  is  reminiscent  of  Luca 


Fig.  27. — Bust  of  a Warrior. 


della  Robbia's  designs,  the  cloak  and  the  colouring  of  the  eyes — blue  brows 
and  lashes,  with  hazel  irises — indicate  a fairly  early  period  in  Andrea’s 
work.  The  cherub  head  on  the  breastplate  symbolizes  the  Christian  pro- 
fession of  the  warrior. 

Bibl.  : 

Anseimi,  A.  S.  A.,  VITI (1895),  442;  Burl.,  69;  Cr.,  230,  330. 


32  ANDREA  DELLA  ROBBIA 

Ari  + 'D  U 0-  /t  c’  c „■  ^ 

20  BUST  OF  A BOY.  Florence,  Museo  Nazionale,  No.  75.  H.,  0.33m. 
Photo.,  Brogi,  9467;  Casts,  Cantagalli,  273;  Lelli,  416. 

This  charming  bust  of  a boy  (Fig.  28)  has  been  called  a boy  Christ,  but 
probably  bad  no  religious  significance.  It  is  certainly  not  a S.  Giovannino, 
who  invariably  wears  the  hair  cloth.  Its  resemblance  to  the  armorial 
bearers  of  the  stemma  of  the  Arte  della  Seta  on  Or  San  Michele  suggests 


Fig'.  28. — Bust  of  a Boy.  Florence, 


the  authorship  of  Luca  della  Robbia,  but  its  relationship  to  the  medallions 
with  heads  of  youths  makes  it  more  probable  that  it  should  be  called  an 
early  work  of  Andrea’s.  The  treatment  of  the  eyes  shows  some  uncer- 
tainty. The  eyebrows  seem  originally  to  have  been  indicated  in  violet  and 
then  done  over  in  robin’s  egg  blue.  The  irises  are  yellow  as  Luca  might 
have  painted  them,  but  the  pupils  are  copper  coloured — an  indication  of 
Andrea’s  handiwork.  The  green  tunic  and  its  ornamentation  and  the  fine 
blue  mantle  are  closely  related  to  those  of  the  medallion  with  bust  of  a 
youth  in  the  Berlin  Museum. 

Bibl.  : 

B.,  J.  k.  p.  K.,  XXI  (1900),  32;  Denkm.,  79,  Taf.  228;  FI.  Bildh., 
216,  Abb.  1 18;  FI.  Sc.,  147,  pi.  65;  Mas.,  II,  71,  Taf.  137;  Burl.,  111; 


ANDREA  DELLA  ROBBIA 


33 


C-M.,  1 1 3,  219,  No.  82  note;  Cr.,  155;  325;  M.,  L.  D.  R.,  231-232; 
R.,  D.  R.,  259,  276;  Se.  Fi,  IV,  64;  S.,  123,  Abb.  136;  Supino, 
452  No.  75. 

i b 0'  n..  e 'A-  Y f ra  uv  e A l 

21  STEMMA  OF  THE  GINORI  FAMILY.  New  York  City.  Collec- 
tion of  Mr.  Thomas  F.  Ryan.  Photo.,  from  Bardini  Catalogne. 

Formerly  in  the  collection  of  M.  Maurice,  Kami,  then  in  that  of  Sigis- 
mond  Bardac,  this  fine  stemma  passed  into  the  collection  of  Mr.  Thomas 
F.  Ryan.  On  a pointed,  oval  shield  (Fig.  29)  are  displayed  the  arms  of 


Fig.  29. — Stemma  of  the  Onori  Family. 


the  Ginori  : Azure,  a band  or  charged  with  three  eight-pointed  estoiles  of 

the  first. 

The  charming  winged  putto  who  supports  the  shield  resembles  the  bust 
of  a boy  in  the  Museo  Nazionale,  No.  75.  The  seeded  scroll  ornament  at 
the  base  of  tbe  shield  suggests  the  decoration  of  the  consoles  of  Luca's 
Cantoria.  The  background  is  mottled  violet  in  imitation  of  porphyry. 

This  stemma  may  have  been  made  for  Gino  di  Francesco  Ginori,  a Prior 


34 


ANDREA  DELLA  ROBBIA 


of  Florence  in  1471.  Andrea  della  Robbia’s  atelier  supplied  coats  of  arms 
for  Gino  di  Giulano  Ginori,  Vicario  at  S.  Giovanni  in  Valdarno  in  1489 
and  1490,  and  for  Alessandro  di  Gino,  Podestà  and  Commissario  at  Cas- 
tiglione Fiorentino  in  1507. 

/a  U'--<TV  V 

Bibl.  : 

Cat.  Maurice  Kann,  No.  200;  Cat.  Sigsmond  Bardac,  No.  30;  C.,  s.v. 
Ginori;  M.,  A.  in  A.,  1914,  242-246;  L.  D.  R.,  233-234;  R.  H.,  45-46, 
Fig.  43;  P.,  460-462. 

22  MEDALLION  BUST  OF  A LADY.  Florence.  Museo  Nazionale 
No.  73.  Diam.,  0.45m.  Photo.,  Brogi,  9468;  Cast,  Cantagalli,  325. 


This  medallion  (Fig.  30),  possibly  by  Andrea  himself,  portrays  a lady 
from  some  aristocratic  family.  The  double  chaplet  of  pearls  about  her 


Fig.  30. — Bust  of  a Lady. 


head,  the  stiff  headdress  with  its  large  brooch,  and  the  necklace  of  pearls 
with  its  pendant,  as  well  as  her  delicate  features,  indicate  her  high  station. 
Mino  da  Fiesole,  who  seems  to  have  had  some  influence  on  Andrea’s  style, 
appears  to  have  been  inspired  by  the  same  lady  when  he  fashioned  the 
Madonna  of  the  Salutati  altarpiece  in  the  cathedral  at  Fiesole.  Her  green 
robe  and  light  blue  mantle,  as  well  as  her  eyes  with  their  violet  brows,  lashes 
and  pupils,  and  their  copper-coloured  irises  show  this  relief  to  be  closely 
related  to  tbe  Bust  of  a Boy  in  the  Museo  Nazionale.  An  inferior  variant 


ANDREA  DELLA  ROBBIA 


35 


of  this  medallion  is  in  the  collection  Thiers  of  the  Louvre.  (See  Blanc, 
Coll.  Thiers,  12-13,  pi.  4.) 

Bibl.  : 

B.,  /.  k.  k.  k.,  XXI  (1900),  32;  Denkm.,  79,  Taf.  228;  FI.  Bildh., 
188,  Abb.  82;  FI.  Sc.,  in;  Mus.,  II,  72;  Burl.,  Ill;  Cr.,  339;  M., 
L.  D.  R.,  234-236,  Lig.  152;  S.,  89,  Abb.  101  ; Supino,  451  no.  73; 
V.,  VI,  578  note.  1. 

23  TERRA-COTTA  ERIEZE  AND  CORNICE,  c.  1475.  Faenza. 
S.  Michele  Arcangelo.  Photo.,  Private. 

The  church  of  S.  Michele  Arcangelo  at  Faenza  has  an  exterior  cornice 
and  ornamental  terra-cotta  frieze  (Fig.  31),  unglazed,  which  I am  inclined 
to  consider  one  of  Andrea  della  Robbia’s  early  works.  The  channelled 


Fig.  31. — Architectural  Decoration.  Faenza. 


corona,  the  Corinthian  consoles,  with  the  intervening  rosettes,  not  to  men- 
tion the  egg  and  dart,  dentils,  and  bead  and  reel  mouldings,  are  such  as 
Andrea  was  accustomed  to  see  in  his  uncle’s  work — in  the  Cantoria,  and 
the  tabernacle  at  Peretola  and  Impruneta.  But  the  frieze  with  the  more 
conventional  palmettes  suggests  Mino  da  Fiesole’s  altarpiece  at  Fiesole  and 
Andrea  della  Robbia’s  pilaster  decorations  at  La  Verna,  Assisi,  Prato,  and 
Gradara  Rocca.  The  pattern  between  the  palmettes,  of  floral  origin  but  re- 
sembling a thunderbolt,  was  used  by  Andrea  in  the  altarpiece  of  the  Cap- 
pella Canigiani  in  S.  Croce. 

The  date  of  the  church  is  preserved  by  a glazed  terra-cotta  medallion 
now  in  the  Cluny  Museum,  No.  2807.  It  displays  the  Monogram  of  Christ 
and  is  inscribed  Nicolaus  de  Ragnolis  ad  honorem  Dei  et  S.  Michaelis  fecit 
feri  Anno  D.  14/3.  This  medallion  originally  decorated  the  architrave  of 
the  principal  entrance  of  the  church. 

Bibl.  : 

Messeri-Calzi,  519-520. 


36  ANDREA  DELLA  ROBBIA 

24  LUNETTE  OF  S.  MICHELE  ARCANGELO.  Braunschweig.  Col- 
lection of  Frau  Vieweg.  H.,  0.79m.;  W.,  1.57m.  Photo.,  Mazzoni. 
Faenza. 

This  lunette  (Fig.  32)  once  decorated  the  entrance  portal  of  the  sup- 
pressed church  of  S.  Michele  Arcangelo  at  Faenza.  It  was  sold  in  1872  by 
Count  Benevento  Pasalini  dall’Onda  to  the  antiquarian  Cav.  Ortensio  Vita- 
lini, and  in  1875  by  the  art  dealer  Angiolini  of  Bologna  to  Herr  Heinrich 
Vieweg  of  Braunschweig. 

Anseimo  Anseimi  asserts  that  it  was  set  in  place  in  1475.  He  cites  no 


Fig.  32. — Lunette  of  S.  Michele. 


documents;  hence  I am  inclined  to  think  he  has  borrowed  the  date  from 
the  Faentine  medallion  now  in  the  Cluny  Museum  (No.  2807),  which  once 
decorated  the  same  church,  but  did  not  issue  from  the  Robbia  school. 
Malagola  dates  the  lunette  1477,  but  he  again  borrows  the  date  from  that 
of  the  Manfredi  medallions  of  the  Cathedral.  It  is  probable,  however,  that 
this  lunette  was  executed  during  this  decade. 

S.  Michele  is  here  represented  in  his  capacity  as  Lord  of  Souls.  He 
carries  the  sword,  and  the  scales  in  which  souls,  here  portrayed  as  a 
diminutive  man  and  woman,  are  weighed.  Once  again  did  Andrea  repre- 
sent, in  simple  fashion,  S.  Michele  as  weigher  of  souls— in  the  predella  of 
the  altarpiece  in  S.  Maria  in  Grado,  Arezzo — , but  the  Vieweg  S.  Michele 
is  far  more  beautiful.  The  decoration  of  the  breastplate  is  such  as  Andrea 
might  have  learned  from  his  uncle  Luca’s  Resurrection  lunette  in  the  cathe- 
dral or  from  the  Fortitude  in  the  Portogallo  chapel.  Andrea  used  it  again 
in  his  grand  Resurrection  relief  in  S.  Bernardino  at  Aquila.  The  manner 
of  representing  the  wings  and  the  treatment  of  the  drapery  are  Luca-like, 
as  are  also  the  eyes  with  their  grey  blue  irises  and  violet  brows  and  lashes. 


ANDREA  DELLA  ROBBIA 


37 


Bibl.  : 

Anseimi,  A.  S.  A.,  Vili (1895),  444;  B.,  Kf.,  26;  Denkm.,  85,  Taf. 
252;  Buri.,  75;  C-M.,  263,  No.  368;  Cr.,  159,  325;  Malagola,  103; 
Messeri-Calzi,  519-520,  558;  Michel,  IV,  122;  R.,  Se.  FI,  111,  163; 
D.  R.,  179-180;  S.,  116-117,  Abb.  129;  V.,  VI,  583-584. 

25  ALTARPIECE.  S.  FRANCESCO  RECEIVING  THE  STIG- 
MATA; TOBIAS  AND  THE  ANGEL.  Florence.  S.  Croce,  Cap- 
pella Vieri-Canigiani.  H.,  i.86m.  ; W.,  2.40m.  Photos.,  Alinari,  No. 
2190;  Brogi,  Nos.  12126-12128.  Casts,  Cantagalli,  408 ( detail ) ; 
Lelli,  433 (detail). 

In  a chapel  opening  into  the  cloister  of  S.  Croce,  founded  by  the  Con- 
fraternità della  Capanna,  later  belonging  to  the  Baldi,  and  now  to  the  Vieri- 
Canigiani  families,  is  one  of  Andrea’s  early  altarpieces  (Fig.  33).  It  was 
designed  as  a ciborio,  the  depository  for  the  sacred  host  being  closed  by  a 
sportello  with  a painting. 

The  patron  saint  of  the  confraternity,  S.  Bartolommeo,  is  represented  in 
a lunette  against  a blue,  fluted  background.  The  entablature  beneath  the 
lunette  is  supported  by  spirally  fluted  columns  recalling  those  of  Luca's 
tabernacle  of  the  Madonna  at  Impruneta.  They  rest  on  a low  base  the 
ornamentation  of  which  is  analogous  to  the  interior  frieze  of  S.  Michele  at 
Faenza.  To  the  left  of  the  ciborio  is  S.  Francesco,  attended  by  Frate  Leo, 
receiving  the  stigmata,  a subject  which  Andrea  repeated  at  Assisi,  S.  Fiora 
and  elsewhere.  Christ  appears  in  the  heavens  like  a seraph.  The  rocky 
hill  of  La  Verna  is  dark  blue  to  contrast  with  the  green  trees.  The  mon- 
astery is  represented  with  the  utmost  simplicity.  To  the  right  is  a group 
of  Tobias  and  the  Angel.  Tobias  is  unexpectedly  provided  with  a halo, 
as  if  he  were  a saint,  and  his  legs  are  ill  proportioned;  but  his  head  and  that 
of  the  Archangel  have  all  the  charm  of  Andrea’s  early  works.  We  find 
the  same  subject  somewhat  differently  treated  at  Prato  and  at  S.  Fiora. 
As  a composition,  however,  we  can  hardly  believe  that  Andrea  set  a group 
like  this,  with  its  large  figures  against  a plain  blue  ground,  to  balance 
the  scene  to  the  left  with  its  smaller  figures  and  polychromatic  moun- 
tain scenery.  The  subject  of  S.  Francesco  receiving  the  stigmata  is  likely 
to  have  suggested  itself  for  an  altarpiece  designed  for  a Franciscan  brother- 
hood, but  it  is  also  likely  to  have  been  balanced,  as  at  Assisi,  by  a cognate 
and  similarly  constructed  scene,  such  as  S.  Girolamo  in  the  Desert.  Tobias 
and  the  Angel  is  a beautiful  group  in  itself,  and  an  early  product  of  Andrea's 
own  hand,  but  it  seems  to  be  present  in  this  altarpiece  through  the  desire 
of  some  one  other  than  the  artist  himself.  S.  Raffaello,  with  his  out- 
stretched wings  is  a fit  counterpart  to  the  S.  Michele  from  Faenza  or  the 
Annunciation  Angel  at  La  Verna.  His  costume,  with  the  diaconal  stoles 


38 


ANDREA  DELLA  ROBBIA 


crossed  upon  his  heart,  betokens  Andrea's  design.  He  carries  a pyxis  in 
which  is  contained  the  heart  and  liver  and  gall  of  the  fish  (Tobit,  V-VI), 
and  is  accompanied  by  a dog.  The  eyes  of  both  figures  have  blue  brows, 
lashes,  and  pupils,  and  yellow  irises. 

The  frame  exhibits  an  entablature  with  a fruit  frieze  not  yet  convention- 


Fig.  33. — The  Vieri-Canigiani  Altarpiece. 

alized  into  Andrea’s  customary  forms,  although  the  light  coloured  fruits 
are  all  set  to  the  left  and  the  dark  pine  cones  to  the  right.  The  pilasters 
are  decorated  with  palmettes  like  those  of  the  Adoration  altarpiece  at  La 
Verna,  and  the  base  bears  an  inscription,  with  lettering  and  punctuation 
marks  similar  to  those  at  La  Verna,  reading 

SANTE  PATER  ♦ BARTOLOMEE  * ORA  PRO  NOBIS  ♦ 

At  either  end  of  the  base  in  monochrome  are  kneeling  brothers  of  this 
Franciscan  confraternity. 

Bibl.  : 

B.,  A.  S.  A.,  11(1889),  3;  Ital.  Bildh.  Ren.,  84;  C-M.,  20 7 No.  12; 
Cr.,  183,  341  ; Michel,  IV,  124;  R.,  Sc.  FI.,  Ill,  148,  151. 


ANDREA  DELLA  ROBBIA 


39 


26  BUST  OF  S.  BARTOLOMMEO.  Paris.  E.  Gavet  Collection  (in 
1897).  H.,  0.47m.;  W.,  0.65m.  Photo.,  Private. 

This  bust  (Fig.  34)  was  in  the  Gavet  sale  of  1897.  Compare  the  bust 
of  S.  Bartolommeo  in  the  altarpiece  in  the  Cappella  Vieri-Canigiani  at  S. 
Croce,  where  he  is  represented  holding  a knife. 

Glazed  white,  but  the  eyes  have  blue  brows,  lashes  and  pupils,  and  yellow 
irises. 

Bibl.  : 

Gavet  Collection,  Cat.,  No.  190,  PI.  190. 


Fig.  34. — S.  Bartolommeo. 


27  ALTARPIECE.  (1)  S.  FRANCESCO  RECEIVES  THE  STIG- 
MATA. (2)  CORONATION  OF  VIRGIN.  (3)  S.  GIROLAMO 
IN  THE  DESERT.  Assisi.  S.  Maria  degli  Angeli,  Cappella  di  S. 
Giuseppe.  H.,  2.18m.;  W.,  2.36m.  Photo.,  Alinari,  No.  4837. 

Luca  della  Robbia’s  only  altarpiece,  in  the  episcopal  palace  at  Pescia,  was 
composed  in  three  sections,  like  a triptych.  Andrea  follows  the  same  ar- 
rangement here  (Fig.  35).  In  the  panel  to  the  left  he  represents  S.  Fran- 
cesco receiving  the  stigmata.  The  composition  is  very  similar  to  that  in 
the  Cappella  Canigiani,  but  finer  in  execution.  The  clouds  seen  behind  the 
trees  give  greater  depth  to  the  picture  ; the  Christ  in  the  sky  is  less  like  a 
winged  cherub  head;  the  rocky  hillside  is  more  naturalistically  coloured; 
the  roof,  doors  and  windows  of  the  little  church  are  here  clearly  defined 
by  colour.  In  the  copy  of  this  altarpiece  at  S.  Fiora  this  scene  is  less 
sharply  modelled,  but  in  the  church  of  the  Cappuccini  at  Barga  it  was  ren- 
dered more  elaborately.  The  Coronation  of  the  Virgin  recalls  the  famous 
altarpiece  in  the  Osservanza,  Siena.  The  seven  angels  with  pipes  and  the 
one  with  a curved  horn  are  here  less  beautiful;  the  principal  group  is  more 
equally  balanced;  the  cherubs  who  uphold  the  cloud  thrones  more  adequate 
to  the  task.  This  scene  was  elaborated  later  by  Andrea  for  the  Coronation 


40 


ANDREA  DELLA  ROBBIA 


and  Resurrection  relief  at  Aquila.  The  S.  Girolamo  in  penitence  in  a dark 
locky  landscape  balances  well  the  S.  Francesco  relief;  the  lion  faithfully 
watches  over  the  haggard  saint. 

In  the  predella  is:  (i)  an  Annunciation,  with  a charming  S.  Gabriele 


Fig.  35. — The  Baglioni  Altarpiece.  Assisi. 

kneeling,  pointing  upward,  holding  a lily  branch  to  the  Virgin  who  is 
seated  on  a bench  before  a lectern;  (2)  a Presepio  of  the  cave  type  includ- 
ing the  Annunciation  to  the  Shepherds;  and  (3)  the  Adoration  of  the 
Magi,  in  which  besides  tbe  Holy  Family  and  the  three  wise  men  are  three 


ANDREA  DELLA  ROBBIA 


4i 


attendants  one  of  whom  is  an  African.  The  terminal  predella  pilasters 
contained  vases  of  roses,  similar  to  those  in  the  predella  of  the  Coronation 
altarpiece  at  Siena;  the  central  pilasters  are  decorated  with  floral  orna- 
ment enclosing  medallions  with  the  arms  of  Braccio  II  Baglioni  : Azure  a 
griffin  argent  with  fish  tail  vert,  holding  a sword. 

This  altarpiece  appears  to  have  been  removed  from  some  other  location 
when  the  cornice  mouldings  were  cut  short;  the  polychromatic  fruit  frieze 
was  stupidly  set  (two  of  the  bunches  to  the  right  of  the  centre  being  up- 
side down)  ; and  one  of  the  pilasters  (last  to  right)  set  upside  down.  It 
may  be  noticed  that  while  the  first  pilaster  to  the  left  contains  seven  palm- 
ettes,  the  other  three  have  eight.  A similar  irregularity,  as  well  as  similar 
design  occurs  in  the  pilasters  of  the  Adoration  altarpiece  at  La  Verna. 

Bibl.  : 

B.,  Kf.,  26;  It.  Bildh.  Ren.,  84;  Burl.,  72,  112;  C.,  s.v.  Baglioni;  C-M., 
225  No.  122;  Cr.,  182-183,  325;  M.,  R.  H.,  28,  30;  Michel,  IV,  124 
Fig.  91;  R.,  D.  R.,  162-163;  Sc.  FI,  III,  154-155;  S.,  105,  Abb.  108. 

28  STEMMA  OF  BISHOP  FEDERICO  MANFREDI.  1477.  Faen- 
za, Duomo,  S.  Pietro.  Photo.,  Private. 

The  Cathedral  of  Faenza,  designed  by  Giuliano  da  Maiano  to  occupy  the 
site  of  an  earlier  church,  was  built  for  Bishop  Federico  Manfredi  in  1474. 
On  the  sixteenth  of  November,  1477,  the  Bishop,  who  had  been  serving  as 
Lieutenant  General  of  State  and  incurred  the  odium  of  the  people,  was 
driven  from  the  city  and  suffered  severe  financial  loss.  As  a testimonial 
of  his  benefactions  to  the  Cathedral  he  had  arranged  three  medallions  con- 
taining his  coat  of  arms,  one  to  be  set  in  the  vault  over  the  high  altar,  the 
other  two  in  the  vaults  which  cover  the  transepts.  As  the  latter  two  are 
incomplete,  we  may  reasonably  suppose  that  these  medallions  were  being 
executed  when  the  Bishop  met  his  unfortunate  fate. 

1.  The  central  medallion  (Fig.  36). 

The  Manfredi  arms,  on  a tournament  shield,  display  quarterings  of 
argent  and  azure,  here  surmounted  by  a Capo  di  Francia  consisting  of 
three  golden  fleurs-de-lys  on  a field  of  azure.  The  complex  supporter  of  the 
shield,  called  a caprone,  looks  like  a camel  seated  beside  a violet  flame  or 
fire,  carrying  a sack  on  his  back,  his  head  covered  with  a helmet,  the  crest 
of  which  consists  of  the  head  of  a white  goat  with  golden  (yellow)  horns, 
hrom  the  top  of  the  helmet  radiate  mantlings  of  violet,  white  and  green. 
Behind  the  goat’s  head  is  a scroll,  not  inscribed.  The  arms  and  supporter 
are  set  against  a blue  fluted  disk  framed  with  a garland  of  fruit. 

The  frame  is  broad  and  the  fruit  garland  modelled  in  rather  flat  masses. 


42 


ANDREA  DELLA  ROBBIA 


Its  composition  is  conventional.  Each  bunch,  containing  three  pieces  of 
fruit  and  arranged  to  form  a triangle,  is  held  together  by  a ribbon  and  is 
not  merged  in  the  mass,  as  in  Luca  della  Robbia’s  garlands.  It  was  baked 
in  eight  sections,  each  containing  two  bunches  of  similar  fruit.  The  sec- 


Fig.  36. — Manfredi  stemma. 


tions  are  alternately  dark  and  light  in  colour.  The  same  fruits  are  found 
in  Luca’s  garlands.  Grapes,  oranges,  pine  cones,  apples  are  succeeded  by 
grapes,  citrons,  pine  cones,  zucche,  in  the  direction  of  the  hands  of  a clock. 
The  outermost  band  of  the  frame  is  inscribed: 

LEDERICVS  * DE  MANEREDIS  * 

LAVENTINVS  * EPISCOPVS  * FAVENZIE  + CONDITOR  + 
TENPLI 

It  is  in  the  composition  and  modelling  of  the  garland  that  one  particularly 
recognizes  the  hand  of  Andrea  della  Robbia. 

2.  Medallion  of  the  north  transept. 

The  central  portion  of  this  medallion  is  of  plaster,  and  presents  in  a 
complicated  form  the  arms  of  Bishop  Manfredi.  An  eagle  with  a motto 
and  a dove  with  a motto  are  added  emblems.  The  motto  issuing  from  the 
goat's  mouth  reads:  WAH  HIC  MAC  (sic).  The  inscription 

S(IGILLVM)  ♦ D(OMI) NI  ♦ FEDERICI  ♦ DEMANFREDIS  * 
EPISCOPI  + FAVENTINI  4-  is  more  delicate  in  lettering  than  the  in- 
scription on  the  outer  band  of  the  frame.  The  frame  is  less  carefully 


ANDREA  DELLA  ROBBIA 


43 


modelled  than  the  fraine  of  the  medallion  in  the  vault  over  the  high  altar — 
an  indication  that  Andrea  della  Robbia  already  employed  assistants.  It  is 
also  composed  with  less  skill — every  alternate  bunch  consists  of  pine  cones 
— and  was  stupidly  set  in  position,  two  of  the  eight  sections  having  ex- 
changed places,  so  that  the  inscription  is  meaningless.  1 he  outer  inscrip- 
tion is  the  same  as  in  the  central  medallion,  but  punctuated  with  4 instead 
of  *. 

3.  Medallion  of  the  south  transept. 

The  central  portion  of  this  medallion,  on  which  is  painted  the  Manfredi 
arms,  is  also  of  plaster.  The  supporter  is  still  a camel  seated  beside  a 
flame,  a sack  on  his  back  and  a helmet  with  mantlings  on  his  head.  The 
crest  consists  of  a conventional  floral  pattern;  the  scroll  is  inscribed 

WAN  : ICH  + MAG  4 

The  frame,  of  glazed  terra-cotta,  is  composed  of  eight  sections,  each  with 
two  bunches  of  fruit,  alternating  in  colour  from  dark  to  light.  The  dark 
coloured  fruits  are  grapes  and  pine  cones;  the  light  ones,  citrons,  oranges, 
apples,  and  zucche.  The  fruit  seems  to  have  been  modelled  by  the  sculptor 
of  the  first  medallion,  but  the  inscription  given  over  to  an  assistant  who 
used  heavier  lettering,  reversed  the  direction  of  the  inscription  and  changed 
the  spelling  of  FAVIENZIE  to  FAVENTIE  + It  records  the  foundation 
of  the  church  in  the  same  words  as  in  the  first  medallion. 

Bibl.  : 

Argnani,  21;  C.,  s.v.  Manfredi;  Guasti,  Cajfagiolo,  157;  Malagola, 
101-102,  464;  M.,  R.  H.,  33-35,  Fig.  30;  Messeri-Calzi,  506-512;  Ton- 
duzzi,  12,  508,  5 1 1 ; Strocchi,  3. 

29  STEMMA  OF  FRANCESCO  DI  LORENZO  DELLA  STUFA. 
1478.  Volterra,  Palazzo  dei  Priori.  Photo.,  Alinari,  34619. 

Set  against  a blue,  fluted  disk  on  a pointed,  oval  shield  are  the  della  Stufa 
arms:  Argent,  two  lions  combattant  or;  in  chief  a Latin  cross  couped 
gules  (Fig.  37).  The  frame  of  plain  architectural  mouldings  encloses  a 
garland  of  fruit  composed  of  triplex  bunches,  in  colour  alternately  dark 
and  light,  well  separated  and  bound  by  narrow  ribbons. 

Below  a winged  cherub  displays  a curved  scroll  inscribed  : 
FRANCISCVS  + LAVRENTII 
STVFE  + PRESES  + ET  + LEGATV 
S + DIGNISSIMVS  + 1464  + ET  + 1478 

hrancesco  di  Lorenzo  della  Stufa  had  been  Prior  of  Florence  in  1463 


44 


ANDREA  DELLA  ROBBIA 


Fig.  37. — Della  Stufa  Stemma. 


and  Gonfaloniere  in  1482.  His  son  Lorenzo  became  Vicario  at  Lari  in 
I524- 

Bibl.  : 

C.,  s.v.  Lotteringhi  della  Stufa;  AL,  L.  D.  R.,  244-245;  R.  H.,  36, 
Fig.  32;  P.,  403-405;  W.,  176-177. 

30  GOD  THE  FATHER  BLESSING.  Empoli.  Galleria  della  Collegi- 
ata. Medallion.  Diain.,  1.28m.  Photo.,  Alinari,  No.  10124. 

A representation  of  God  the  Father  blessing,  formerly  in  the  Cappella 
di  S.  Lorenzo  of  the  Collegiata  above  the  altar  adorned  with  Rossellino's 
S.  Sebastiano  (Fig.  38).  It  is  to  be  attributed  to  Andrea  della  Robbia, 
though  less  beautiful  than  the  representation  of  God  the  Father  in  the 
lunette  of  the  Madonna  della  Cintola  at  La  Verna.  His  eyes  have  dark 
blue  brows  and  pupils,  and  yellow  irises.  He  is  surrounded  by  seven  triple- 
winged cherubs.  The  frame  is  heavy  and  the  bunches  of  fruit  somewhat 
conventional,  but  not  without  decorative  charm. 

Bibl.  : 

Burckh.,  434;  Carocci,  Il  V\aldarno,  75;  C-AL,  232  No.  169;  Cr.,  337; 
Giglioli,  Empoli , 54. 


ANDREA  DELLA  ROBBIA 


45 


31  PAVEMENT  TILES.  Empoli.  Museo  della  Collegiata.  2.40m.  X 
I-53m- 


Before  the  altar  of  the  Cappella  di  S.  Lorenzo  in  the  Collegiata  at 
Empoli  was  a Robbia  pavement  (Fig.  39),  recently  removed  to  the  Museo. 
The  central  portion  consists  of  hexagonal  white  tiles,  decorated  with  com- 
plicated rosettes,  blue,  green,  white  and  yellow,  bordered  with  foliage  of 
violet,  green  and  blue.  At  either  side  is  a border,  0.28m.  wide,  showing  a 
net  work  of  cubes,  black,  green  and  yellow.  It  did  not  compose  well  with 
the  central  pattern.  In  front  a border,  0.23m.  wide,  shows  a fringe  and  a 
charming  pattern  of  opposing  yellow  palmettes  united  with  blue  and  violet 
lilies.  The  tiles  were  set  so  that  the  fringe,  which  obviously  belonged  on 
the  outer  edge,  is  on  the  inner  edge  of  the  border.  To  the  right  of  the 
altar  was  set  a rectangular  corner  tile  ornamented  with  a rosette.  Evi- 
dently these  tiles  were  adapted  to,  not  originally  designed  for,  this  locality. 

The  altar  of  the  chapel  contains  a statue  of  S.  Sebastiano  by  Antonio 
Rossellino,  who  died  in  1479;  and  011  the  wall  is  a coat  of  arms  in  Robbia 


Fig.  38. — God  Father  Blessing. 


Fig.  39. — Pavement  Tiles. 


ANDREA  DELLA  ROBBIA 


47 


ware  inscribed:  ADIMARI,  which  may  be  dated  approximately  at  1475. 
The  tiles  were  probably  laid  in  this  chapel  at  the  same  time  as  the  medallion 
of  God  the  Father.  The  pattern  of  the  pavement  as  I have  suggested  else- 
where was  probably  designed  by  Luca  della  Robbia,  but  was  reproduced 
several  times  in  the  atelier  of  his  nephew. 

Bibl.  : 

Cr.,  337;  M.,  Br.  1902,  55-56;  L.  D.  R.,  91-92,  Fig.  53. 

32  SIMILAR  TILES.  S.  Gimignano.  Museo  della  Biblioteca.  Photo., 

Private. 

In  the  Museo  della  Biblioteca  may  be  seen  some  tiles  taken  from  the 
Cappella  di  S.  Fina  in  the  Duomo.  This  chapel  was  designed  by  Giuliano 
da  Maiano  in  1466,  and  enriched  by  Benedetto  da  Maiano  with  a taber- 
nacle and  altar  in  or  about  1475.  It  is  probable  that  the  pavement  was  at 
that  time  laid  like  a rug  in  front  of  the  altar.  The  tiles  which  remain 
show  : ( 1 ) a corner  tile,  showing  a rosette  set  within  concentric  circles  and 
these  in  a square;  (2)  border  tiles  of  opposing  palmettes  and  a fringe,  as 
at  Empoli,  and  S.  Fiora;  and  (3)  central  tiles,  hexagonal  in  form  bordered 
with  blue,  violet  and  green  foliage  and  enclosing  a large  central  rosette,  as 
at  Empoli. 

Bibl.  : 

M.,  Br.,  1902,  55-56;  L.  D.  R.,  91-92,  Fig.  53. 

33  SIMILAR  TILES.  S.  Gimignano.  S.  Agostino,  Cappella  di  S. 

Bartolo. 

In  the  church  of  S.  Agostino  there  may  be  seen  some  fine  Robbia  tiles, 
now  in  a poor  state  of  preservation.  They  consist  of  hexagonal  tiles,  like 
those  from  S.  Fina,  decorated  with  varigated  rosettes,  but  surrounded  with 
elongated  hexagons  adorned  with  opposing  bunches  of  fruit  and  flowers. 
The  border  tiles  differ  from  those  from  S.  Fina  and  are  decorated  with  a 
series  of  palmettes,  alternately  blue  and  yellow,  the  blue  ones  being  accom- 
panied by  cornucopias  of  fruit. 

34  SIMILAR  TILES.  S.  Fiora  (Monte  Annata) . Madonna  della  Neve. 

Before  the  altar  of  Conte  Guido  Sforza  in  the  church  of  the  Madonna 
della  Neve  or  della  Piscina,  are  laid  some  tiles  of  hexagonal  form  exhibit- 
ing a polychromatic  rosette  in  white  ground  surrounded  by  leaves  of  green. 


48 


ANDREA  DELLA  ROBBIA 


blue  and  violet;  together  with  border  tiles  showing  opposing  palmettes  and 
lilies,  similar  to  those  at  Empoli,  S.  Gimignano,  and  Montevarchi. 

Bibl.  : 

M.,  Br.,  1902,  55;  L.  D.  R.,  92. 

34a  SIMILAR  TILES.  Montevarchi.  Collegiata  di  S.  Lorenzo. 

In  the  Cappella  di  Contte  Guido  Guerra  with  other  remains  of  della  Rob- 
bia monuments  are  some  tiles  of  similar  pattern  to  those  at  Empoli,  S. 
Gimignano,  and  S.  Fiora.  Some  are  octagonal  with  central  rosettes  sur- 
rounded by  foliage,  others  are  border  tiles  with  the  fringe  pattern. 

Bibl.  : 

M.,  Br.,  1902,  55-56. 

35  ALTARPIECE  OF  THE  ANNUNCIATION.  La  Verna.  Chiesa 
Maggiore,  Cappella  Niccolini.  H.,  2.10m.;  W.,  2.10m.  Photo.,  Ali- 
nari.  No.  9831.  Cast,  Cantagalli  484;  Lelli  373,  386. 

Although  the  mountain  of  La  Verna  was  given  in  1213  to  S.  Francesco 
by  Conte  Orlando  Catani,  Signor  of  Chiusi,  the  support  of  the  monastery 
came  chiefly  from  Florence — from  the  Arte  della  Lana,  the  Municipio,  and 
several  well  known  families. 

The  principal  church,  erected  in  1348,  suffered  from  fire  in  1472.  How 
destructive  this  fire  may  have  been  may  be  inferred  from  the  fact  that  the 
general  decoration  of  the  church  and  the  Robbia  altarpieces  may  all  be 
assigned  to  a period  later  than  the  fire.  As  we  look  toward  the  choir  we 
see  two  baldachinos,  not  unlike  those  which  shelter  Luca's  two  tabernacles 
at  Impruneta,  forming  private  chapels.  To  the  left  is  the  Cappella  Nic- 
colini with  the  altarpiece  of  the  Annunciation,  to  the  right  the  Cappella 
Brizi  with  the  altarpiece  of  the  Adoration.  The  Cappella  Brizi  bears  the 
date  1479.  At  this  period  Luca  della  Robbia  was  nearing  his  end,  and 
Andrea,  long  since  recognized  as  a master,  was  enjoying  well  earned  suc- 
cess. 

Both  reliefs  breathe  the  dignity  and  sobriety  of  Luca’s  compositions. 

\ he  Annunciation  altarpiece  (Fig.  40)  is  composed  in  part  as  we  might 
expect  Luca  to  have  designed  it,  with  the  Virgin  to  the  left  and  the  Angel 
to  the  right;  various  details  are  also  reminiscent  of  Luca.  But  the  Virgin 
is  in  type  like  Andrea’s  early  Madonnas;  S.  Gabriele  is  the  counterpart  of 
the  S.  Michele  from  Faenza;  the  detached  fleecy  clouds  recall  those  of  the 
S.  Egidio  Madonna;  and  the  introduction  of  the  Dove,  and  of  God  the 


ANDREA  DELLA  ROBBIA 


49 


Father  in  a glory  of  cherub  heads,  is  thoroughly  characteristic  of  Andrea. 
The  bench  on  which  the  Virgin  is  seated  recalls  those  in  several  of  Luca’s 
Madonnas,  but  is  also  found  in  Andrea’s  Annunciations  in  predella  scenes 
at  Siena,  Assisi,  Aquila,  Prato,  Gradara  Rocca,  Foiano,  the  Misericordia  at 
Florence,  in  the  Museum  of  Berlin,  Città  di  Castello,  and  Florence.  At  S. 


Fig.  40. — The  Niccolini  Annunciation.  La  Verna. 


Fiora  a projection  of  the  wall  serves  instead  of  a bench.  On  the  whole  in 
Andrea  s earliest  representations  of  the  Annunciation  the  Madonna  is 
seated  on  a bench.  Later  she  is  represented  as  kneeling  or  standing.  Here 
she  wears  the  mantle  drawn  over  her  head  like  a hood,  with  the  character- 
istic triangular  fold  over  the  forehead.  It  may  be  conceived  as  fastened 
by  the  cord  with  buttons,  and  it  falls  in  carefully  arranged  folds  to  her 
leet.  Her  tunic  is  supported  below  the  breast  with  the  usual  linen  girdle. 
Ilei  eyes  have  yellow  irises,  and  violet  brows,  lashes  and  pupils.  The  book 


50 


ANDREA  DELLA  ROBBIA 


which  lies  open  on  her  lap  is  inscribed  Ecce  Virgo  concipiet  et  pariet  filium, 
et  vocabitur  nomen  eius  the  remainder  of  the  quotation  (Isaiah,  VII,  14: 
S.  Luke,  I,  30)  being  covered,  except  for  a few  letters,  by  her  right  hand. 
The  symbolic  lilies  are  not  presented  by  the  angel,  but  are  symmetrically  ar- 
ranged in  a decorated  amphora  set  on  the  ground.  S.  Gabriele,  with  thick, 
curly  hair  and  fine  wings,  clad  in  tunic  with  shoulder  capes,  deacon’s  stole 
and  flowing  mantle,  is  on  his  knees,  not  waiting  to  deliver  his  message  but 
having  delivered  it,  to  which  the  Virgin  has  replied  in  the  words  (S.  Luke 
I,  38)  inscribed  below: 

ECCIE  ♦ A(N)CILLA  4 DO  (MIN)  I * FIAT  4 MIHI  4- 
SECV(N)DVM  4 VERBVM  4-  TVV(M). 

On  either  side  of  this  inscription  are  the  Niccolini  arms:  Azure,  a lion 
rampant  guardant  argent,  debruised  of  a bend  gules. 

The  Niccolini  family  furnished  many  priors  to  Florence.  We  mention 
only  Lorenzo  di  Lapo  di  Giovanni,  Prior  in  1446,  1453,  1465,  1468  and 
Gonfaloniere  in  1465.  His  brother  Otto  was  ambassador  to  Rome  in 
1453,  1455  and  1464.  Agnolo  di  Otto  di  Lapo  Niccolini,  Prior  in  1479, 
may  be  suggested  as  possibly  the  donor  of  this  altarpiece.  The  frame,  in- 
cluding the  predella  and  cornice,  constitutes  a perfect  square,  an  unusual 
form  for  altarpieces.  The  severely  stylized  palmette  decoration  of  the  pila- 
sters suggest  the  influence  of  Mino  da  Fiesole  rather  than  that  of  Luca  della 
Robbia.  This  motive  together  with  that  of  the  cornice  was  repeated  for 
the  Coronation  altarpiece  at  the  Osservanza. 

Bibl.  : 

Beni,  360;  B.,  Kf.,  16;  ltd.  Bildh.  Ren.,  81  ; Denk.,  83,  85,  Taf.  251; 
W.  d.  R.,  8,  Taf.  33;  Burl.,  119;  C-M.,  92,  256  No.  327;  C.,  s.v.  Nic- 
colini: Cr.  162-163,  326  ; D.D.,  33  Abb.  50  ; Fov.,  89,  101  ; Lupattelli, 
16;  M.,  Scribner’s  1893,  688,  697;  R.  H.,  30-31  ; Mencherini,  248-251  ; 
Michel  IV,  123;  Nagler,  XIII,  226;  P.,  436;  R.,  D.  R.,  160;  Sc.  FI., 
152;  Reumont,  Kunstblatt  No.  206  (1831);  S.,  104-105,  Abb.  107; 
Vas.,  II,  198;  V.,  VI,  589,  Fig.  395;  W.,  158-159- 

36  HEAD  OF  THE  ANNUNZIATA.  London.  Collection  of  Miss 
Florence  Gilbert.  H.,  0.27m.;  W.,  0.17m. 

This  very  beautiful  fragment  (Fig.  40a)  was  published  for  the  first  time 
by  Miss  Cruttwell,  who  characterized  it  as  “by  far  the  most  important  and 
beautiful  work  of  Andrea  in  England.”  When  I saw  it  in  1911  I hesitated 
to  accept  this  attribution  for  the  following  reasons  : 

( 1 ) The  glaze  covers  the  inside  as  well  as  the  outside  surface  of  the 


ANDREA  DELLA  ROBBIA  51 

head.  This  I had  observed  in  two  modera  heads,  but  not  in  Robbia  works 
in  the  few  instances  where  observation  was  possible. 

(2)  The  glaze  shows  a crackle,  more  common  in  modern  than  in  Rob- 
bia glazes. 


Fig.  40a. — Head  of  the  Annunziata.  London. 

(3)  The  mode  of  colouring  the  eyes  is  more  summary  than  was  cus- 
tomary with  Andrea. 

Notwithstanding  these  details,  the  general  impression  conveyed  by  this 
head  with  its  beautiful  brows,  delicate  nose,  sensitive  mouth,  and  finely 
modelled  chin  incline  me  to  accept  it  as  from  the  hand  of  Andrea  himself. 
Unfortunately  nothing  is  known  of  its  provenance.  Possibly  it  came  from 


52 


ANDREA  DELLA  ROBBIA 


an  Annunciation  altarpiece,  somewhat  similar  to  that  in  the  Niccolini  chapel 
at  La  Verna. 

Bibl.  : 

Cr.,  176,  326;  Mag.  of  Art,  1903,  414;  S.,  123,  Abb.  140. 

37  ALTARPIECE  OF  THE  ADORATION.  1479.  La  Verna,  Chiesa 
Maggiore,  Cappella  Brizi.  H.,  2.40m.;  W.,  1.80m.  Photo.,  Alinari, 
No.  9830.  Casts,  Cantagalli,  484,  442-443,  (detail),  341  (detail); 
Lelli,  381,  382,  428. 

The  chapel  on  the  south  side  of  the  central  aisle,  corresponding  to  the 
Niccolini  chapel  on  the  north  side,  was  founded  by  Jacopo  Brizi  of  Pieve 
S.  Stefano  in  1479.  The  balustrade  is  inscribed  Istam  Copcllam  fecit  fieri 
Jacobus  Britii  de  Pieve  Santi  Stephani  A.D.  MCCCCLXXVIIII.  The 
altarpiece  (Fig.  41)  is  approximately  of  the  same  period,  and  presumably 
of  a slightly  later  date  than  the  Annunciation  in  the  Niccolini  chapel.  The 
general  form  is  not  a square,  but  a rectangle  of  which  the  height  exceeds 
the  breadth.  The  predella  is  composed  of  simpler  mouldings;  the  pilasters 
are  slenderer;  and  the  frieze  consists  of  cherub  heads.  But  the  general 
spirit,  the  facial  types,  various  details  of  drapery,  the  character  of  the 
clouds,  the  lettering  of  the  inscription,  show  that  the  difference  in  date  is 
insignificant.  In  the  decoration  of  the  pilasters  Andrea  makes  use  of 
somewhat  slenderer  floral  forms  rising  similarly  from  a foundation  group 
of  leaves.  The  pilaster  to  the  right  is  less  skilfully  executed  and  contains 
eight  instead  of  nine  palmettes.  The  capitals  of  the  columns  are  of  the 
Brunelleschian  type  used  by  Luca  della  Robbia  in  the  tabernacle  of  the 
Holy  Cross  at  Impruneta.  It  may  be  noted  also  that  the  central  cherub  of 
the  frieze  is  posed  en  face,  the  others  with  heads  more  or  less  tilted  toward 
the  centre.  The  predella  is  inscribed 

VERBVM  CARO  * FATTV(M)  ♦ EST  ♦ DE  VIRGINE  ♦ M(ARI) A 

The  central  relief  is  composed  in  semi-symbolic  fashion.  The  Virgin  is 
posed  upon  her  knees  upon  a ledge  which  also  contains  the  Child  out- 
stretched upon  a rock-like  mass  of  light  green  hay.  There  is  no  other  in- 
dication that  the  scene  is  laid  upon  the  earth.  The  sky,  more  realistically 
treated  with  gray  and  black  clouds  some  of  which  are  in  relief,  is  sur- 
charged with  figures.  There  is  a fine  God  the  Father  with  outstretched 
hands  surrounded  by  six  cherub  heads,  the  Holy  Dove,  and  eight  angels. 
Two  of  the  latter  hold  a scroll  inscribed:  GLORIA  IN  EXCELS(IS) 
DEO.  In  this  composition  the  Christ  Child  is  given  an  isolated  position 
and  gazes  out  upon  the  world.  He  is  the  object  of  the  adoration  of  almost 
every  one  represented  in  the  composition.  He  and  the  Virgin  are  dis- 


ANDREA  DELLA  ROBBIA 


r o 

JÓ 

tinguished  by  a cream  coloured  glaze  not  so  white  as  that  of  the  heavenly 
creatures.  This  does  not  indicate,  as  Miss  Cruttwell  suggests,  more  than 
one  designer,  since  God  the  Father,  the  angels,  cherubs  and  Dove  are  as 
surely  as  the  Virgin  and  Child  characteristic  products  of  Andrea’s  per- 
sonal handiwork. 


Fig.  41. — The  Brizi  Adoration.  La  Verna. 


54 


ANDREA  DELLA  ROBBIA 


The  Adoration  of  the  Child  is  derived  from  the  more  complex  subject 
of  the  Nativity,  which  in  Andrea's  compositions  no  longer  represented  the 
birth  itself,  but,  in  stable  or  cave  or  in  open  air,  the  Child  adored  by  his 
parents,  the  shepherds,  the  Magi,  the  heavenly  hosts,  and  even  by  the  ox 
and  ass.  Here  the  angels  singing  the  Gloria  are  retained,  but  the  other 
accessory  figures  are  absent.  In  their  place  appears  God  the  Father  with 
his  cherubs,  and  the  Holy  Dove. 

Bibl.  : 

Beni,  357;  B.,  Kf.,  16;  It.  Bildh.  Ren.,  81  ; It.  PL,  93;  Denk.,  83,  Taf. 
250;  Brockhaus,  57;  Burl.,  73,  1 19 ; C-M.,  256  No.  328;  Cr.,  148, 
163-164,  326;  M.,  Scr.  Mag.,  1893,  69 7;  D.  R.  A.,  64  Fig.  27;  Men- 
cherini,  245-248;  Michel,  IV,  123;  R.,  D.  R.,  156;  Sc.  FI. , 149,  152; 
S.,  103  Abb.  106;  Vas.,  II,  179,  198;  V.,  VI,  584  Fig.  301. 


Fig.  42. — S.  Francesco. 


38  S.  FRANCESCO.  La  Verna.  Chiesa  Maggiore.  H.,  1.70m.  Photo., 
Alinari,  No.  9832. 

This  very  expressive  relief,  formerly  in  the  Brizi  Chapel,  represents  S. 
Francesco  (Fig.  42)  standing  in  a blue  niche  which  is  capped  with  a shell 


ANDREA  DELLA  ROBBIA 


55 


with  green  ribs.  S.  Francesco  in  monastic  robes  holds  a cross  and  points 
to  his  wounded  side.  His  stigmata  are  raised  knobs.  His  eyes  have  violet 
brows,  lashes,  and  pupils.  The  irises  are  now  hardly  distinguishable  from 
the  pupils.  The  console  is  ornamented  with  a cherub  head  with  three  pairs 
of  wings. 


Beni,  359;  Burl.,  1 19 ; C-M.,  256  No.  329;  Cr.,  356;  M.,  Scribner's, 
1893,  69 7;  Memorie  della  Verna.  Ms.  segnato  Biblioteca  Marucelliana, 
B.  I,  19,  c.  93;  Mencherini,  254,-255,  257;  R.,  D.  R.,  176;  Sc.  Fi., 
Ill,  162. 

39  S.  ANTONIO  ABATE.  La  Verna.  Chiesa  Maggiore.  H.,  1.70m. 
with  console.  Photo.,  Alinari,  No.  9833. 

A companion  piece  to  the  S.  Francesco,  and  formerly  in  the  Brizi 
Chapel.  S.  Antonio,  in  monkish  robes,  carries  a book  and  a staff  (Fig. 
43).  He  was  popular  with  the  poor,  and  with  the  Franciscans  who  exalted 


poverty  as  a virtue.  His  symbol,  the  pig,  is  represented  on  the  console. 
Details  of  colour  as  in  the  preceding. 


Bibl.  : 


Fig.  43. — S.  Antonio  Abate. 


Bibl.  : 


Same  as  the  preceding,  and  M.,  R.  H.,  74. 


56  ANDREA  DELLA  ROBBIA 

40  MADONNA  AND  CHILD  BETWEEN  ANGELS.  Florence. 
Badia.  Over  entrance.  Lunette.  Photos.,  Alinari  204Ó-204Óa; 
Brogi  9913- 

When  in  1871  the  Via  del  Proconsolo  entrance  to  the  Badia  was  recon- 
structed in  the  style  of  Benedetto  da  Rovezzano,  this  beatiti  fui  lunette  (Fig. 
44)  was  embodied  in  it.  It  was  in  itself  too  small  for  the  position,  but  the 
Manifattura  Ginori  made  for  it  a wide  garland  frame  and  the  architects 
fitted  out  the  remaining  space  with  a succession  of  plain  and  decorated 
mouldings.  The  relief  itself  could  not  have  been  supplied  by  the  Ginori 


Fig.  44. — The  Badia  Lunette. 


factory,  as  a close  examination  shows  that  it  is  covered  with  a hard  Robbia 
glaze  whiter  than  that  of  the  frame  and  without  its  iridescent  quality,  and 
that  its  blue  background  is  finer  in  colour  and  more  uniform  than  that  of 
the  frame. 

The  lunette  is  undoubtedly  the  Madonna  over  the  “porta  laterale  verso 
la  strada  publica”  (via  del  Proconsolo)  referred  to  by  Puccinelli  in  1664, 
and  further  defined  by  Bocchi-Cinelli  in  1677  as  a very  beautiful  Madonna 
with  two  adoring  angels,  “by  Luca  della  Robbia.”  Ridia  in  his  Chiese 
Fiorentine  (1754)  does  not  mention  it.  Possibly  it  had  been  removed,  for 
Barbet  de  Jouy  in  1855  locates  it  within  the  Badia  in  the  Cappella  Salviate 
In  1878  Milanesi  classed  it  as  all  that  remained  of  the  decorations  made 
for  the  chapel  of  Bernardo  del  Banco  by  Benedetto  Buglioni  (Yas.  IV, 
182).  Subsequent  writers,  including  Bode,  Bacci,  Burlamacchi,  Cavalucci 
and  Molinier,  Cruttwell,  Perkins,  Reymond,  and  Schubring  follow  Mila- 
nesi’s  attribution.  On  stylistic  grounds  however,  we  may  say  that  it  ex- 


ANDREA  DELLA  ROBBIA 


57 


Dibits  none  of  the  characters  shown  in  Buglioni’s  works.  The  background 
is  here  a deep,  beautiful  blue,  not  the  light,  faded  blue  with  which  Buglioni 
was  satisfied.  The  angels  with  their  coronals,  capes  and  graceful  draperies, 
their  gentle  refined  spirit  may  be  paralleled  in  the  heavenly  hosts  with  which 
Andrea  della  Robbia  surrounded  his  Madonna  adoring  the  Child  at  La 
Verna.  They  have  no  parallel  in  the  works  of  Benedetto  Buglioni.  The 
Madonna  and  Child  show  strongly  the  influence  of  Luca  della  Robbia,  both 
in  composition  and  details.  The  Child  might  be  viewed  as  an  emanation 
from  Luca’s  stemma  of  the  Silk  Merchants  on  Or  San  Michele,  and  the 
Madonna  as  the  prototype  of  the  Madonna  Lunga  at  Stia.  Where  in  all 
of  Benedetto  Buglioni’s  work  can  we  find  even  a remote  parallel  to  this 
charming  creation? 

Documents  : 

1.  “Sopra  la  Porta  laterale  verso  la  strada  pubblica  fu  adatta 

l'effegie  di  Nostra  Signora  di  terra  robbia  invetriata, 
vaga  e bella  per  il  disegno  e maestria.” 

[P.  D.  Placido  Puccinelli,  Istoria  dell' Eroiche  Attioni  di  Ugo  il  Grande. 
Con  la  Cronica  dell'  Abbadia  di  Fiorenza.  Milano,  MDCLXIV.  Cronica 
dell’  Abbadia  Fiorentina,  c.  1 1 9. ] 

2.  “E  sopra  la  Porta  di  questa  Ciesa  in  vn  mezzo  tondo  vna 

bellissima  Vergine  col  Bambino  Giesù,  e due  Agnolini 
di  terra  vetriata  di  mano  d(e)l  Luca:  Esprimono  gli 
Angeli  nel  se(m)biante  la  devozione,  e riverenza,  che 
si  deve  all'eterno  Verbo  molto  acconciamente.” 

[Bocchi-Cinelli,  389.] 


Bibl.  : 

Bacci,  Riv.  d’Artc,  11(1904),  49-50;  B-J.,  89;  Bocchi-Cinelli,  389; 
B.,  Kf.,  23;  Buri.,  107;  C-M.,  144,  205  No.  3;  Cocchi,  113-114;  Cr., 
253,  341  ; Marcotti,  1 1 1 ; Perkins,  T.  Se.,  I,  201  ; H.  H.,  145  ; R.,  D.  R., 
223;  SV.  Fi,  IV,  48;  Ridia,  I,  198;  S.  73,  Abb.  69;  Vas.,  II,  185  note 
1,  192  ; IV,  182. 


ANDREA  DELLA  ROBBIA 
1480-1490 


ANDREA  DELLA  ROEBIA 


i 480- 1 490 

41  TWO  ANGELS.  Florence.  Duomo.  1481-1482. 

On  the  15  of  March  1481,  and  later  in  1482,  Andrea  della  Robbia 
through  his  son  Marco  (then  13-14  years  of  age,  later  became  Fra  Mattia) 
received  payments  from  the  Opera  di  S.  Alaria  del  Fiore  for  two  angels 
made  for  the  Cathedral.  Their  whereabouts  is  unknown. 

Documents:  [Copied  by  Mr.  Rufus  G.  Mather.] 

1.  “+  MCCCCLXXXI0 

Andrea  di  marcho  di  Simone  dellarobja  de  dare  adj  15  dj  marzo  1.  dodicj 
picciolj  porrto  marcho  suo  figliuolo  per  partte  dj  due  agnoli  fa  per  lopera 
paghonsi  per  poliza  del  provvedittore  n°  45  - 1 12  sol  — 

E adj  30  di  marzo  1482  1.  dodicj  piccioli  fattj  buonj  daprile  a pierò 
di  ser  lore(n)zo  proveditore  per  partte  dj  2 agnolj  fattj  per  la  chiesa  per 
poliza  dj  detto  pierò  proveditore  n°6o  1 12  sol  — 

2.  “+MCCCCLXXXIJ  24—” 

Ricordo  Spese  doperà  deono  dare . . . 


E deono  dare  1.  ve(n) tiquatro  per  loro  a andrea  di  marcho 
dellarobia  posto  debj  avere  in  questo  c.  50  f - lib.  24  sol 

[Arch,  dell  'Opera  di  S.  Maria  del  Fiore.  Quaderno  di  Cassa  1481  n.  I, 
c.  49t,  50,  7Ót;  published  in  L’Arte,  XXII  (1919),  205.] 

3.  “+  MCCCCLXXXII 

Andrea  di  marcho  di  simone  della  roh(b)ia 
de  avere  1 ventj  quatro  per  liti j da  spese 
doperà  posto  debjno  dare  in  questo  c 77  1 24  s — 

de  qualj  affatto  debitore  al  quaderno  giornale  p 
c.  97  al  suo  còto( conto).” 

[Idem,  idem,  c.  50.] 

Bibl.  : 

R.  G.  Alather,  L’Arte,  XXII  (1919),  205  (Doc.). 

42  CORONATION  OF  THE  VIRGIN.  Siena.  Osservanza.  Rectan- 
gular altarpiece.  H.,  2.65m.;  W.,  2.30.  Photo.,  Alinari,  No.  9138; 


Ó2 


ANDREA  DELLA  ROBBIA 


Lombardi  No.  2169,  2220,  1361-1364;  Casts,  Cantagalli,  290,  350 
(detail),  Lelli,  372,  375 (detail). 

The  Osservanza  at  Siena  contains  several  of  Andrea’s  works  and  among 
them  his  masterpiece,  the  Coronation  of  the  Virgin  (Fig.  45).  The  lun- 
ette, with  the  monogram  of  Christ  and  the  winged  cherub  heads,  appears  to 
have  belonged  to  some  other  monument.  The  altarpiece  itself,  its  frame 
and  predella  must  be  dated  shortly  after  the  Annunciation  at  La  Verna. 
The  frame  is  less  square  in  form,  with  slightly  elongated  pilasters  deco- 
rated with  similar  palmettes  (ten  instead  of  nine)  and  provided  with  simi- 
lar capitals.  The  architrave  shows  the  same  mouldings,  the  frieze  the  same 
decoration,  but  the  cornice  richer  ornamental  forms.  The  predella  is 
composed  of  three  panels  separated  by  flat  pilasters.  The  two  lateral  ones 
exhibit  an  elaborate  blue  flowering  plant  containing  the  escutcheon  of  the 
Ugurgieri  family  : Or,  three  lions  azure  supporting  a wheel  gules.  It  may 
be  noted  that  Magio  Ugurgieri  was  one  of  the  Nine  in  1482,  capitano  in 
1490,  and  four  times  Gonfaloniere.  The  central  pilasters  show  delicately 
outlined  vases  containing  bunches  of  single  or  double  roses.  The  reliefs 
of  the  predella  show:  (1)  an  Annunciation  with  seated  Virgin,  not  far  re- 
moved from  its  La  Verna  prototype;  (2)  an  Assumption,  in  which  the 
Virgin,  seated  on  clouds  in  the  midst  of  a violet  edged  mandorla  supported 
by  four  angels,  has  risen  through  clouds  from  a plain  sarcophagus;  and 
(3)  a Presepio  of  the  cave  type,  in  which  the  Child  rests  on  light  green  hay 
in  a yellow  crib,  behind  which  are  the  large  heads  of  the  ox  and  ass,  and 
at  either  side  S.  Giuseppe  and  the  Madonna.  Outside  of  the  gray  blue 
cave  is  a shepherd  blinded  by  the  sight  of  an  angel  whose  scroll  is  inscribed 
not  with  the  Annuntio  V’obis,  but  GLORIA  INESCIESIS  (sic)  DEO. 

The  principal  relief  exhibits  the  Coronation  of  the  Virgin  in  the  presence 
of  five  saints.  The  saints  are  posed  upon  a white  projecting  base,  with 
neither  clouds  nor  earth  to  indicate  where  they  are  standing.  S.  Girolamo, 
holding  a stone,  with  breast  exposed,  gazes  upward;  S.  Antonio  of  Padua, 
in  Franciscan  garb,  holds  a flame  and  book;  S.  Chiara  is  on  her  knees 
adoring;  a young  female  saint  (Rosa,  Lucia)  with  martyr  palm,  stands  be- 
hind; to  the  right  is  S.  Francesco  holding  the  cross.  Their  eyes  have  yel- 
low irises  and  dark  bine  brows,  lashes  and  pupils.  That  the  Coronation 
scene  takes  place  in  heaven  is  indicated  by  the  clouds  in  the  blue  sky  over 
the  entire  background.  God  the  Father  with  all  seriousness  places  the 
crown  on  the  head  of  the  beautiful  Virgin,  whose  robe  retains  much  of  its 
original  gold  ornament.  They  are  surrounded  by  winged  cherubs  and  be- 
tween them  flutters  the  Holy  Dove.  Eight  angels,  with  trumpets  and  pipes 
arranged  in  pairs  on  either  side,  are  evidently  by  the  same  hand  that  de- 


Fig.  45. — The  Osservanza  Coronation. 


6\ 


ANDREA  DELLA  ROBBIA 


signed  the  Adoration  altarpiece  at  La  Verna.  Below  this  group  is  a cherub 
holding  a scroll  inscribed  : 

MARIA  4.  VIRGO  4 ASSV(M)PTA  4 EST  4 AD  ETHEREUM  4 
THALAMVM  4 

In  no  other  monument  did  Andrea  della  Robbia  produce  more  beautiful 
forms. 

Bibl.  : 

B.  J.,  91;  B.,  Kf.,  17,  25;  Denk.,  84,  Taf.  261;  Brogi,  Inv.,  229; 
Burl.,  72-73,  117;  C.,  s.v.  Ugurgieri;  Cr.,  174-176,  326;  Fov.,  108; 
D.  D.,  33,  Abb.  52;  M.,  Scr.  Mag.,  1893,  69 7;  D.  R.  A.,  68,  85;  R.  H., 
29-30;  Michel,  IV,  124;  Perkins,  H.  H.,  142-143;  T.  S.,  197;  R., 
D.  R..  168-170;  Sc.  FI.,  Ill,  158-159;  S.,  105-106,  Abb.  109;  Vas., 


43  THE  ANNUNCIATION.  Siena.  Osservanza.  Two  statues.  H., 
1. 80m.  Photos.,  Lombardi. 

On  either  side  of  the  high  altar  in  the  chapel  of  the  Osservanza,  set  in 
plaster  niches  in  the  wall  are  two  statues:  (1)  S.  Gabriele;  and  ( 2 ) the 


Annunziata.  S.  Gabriele  (Fig.  46),  though  of  the  same  height  as  the  An- 
nunziata, is  a stocky  standing  figure,  with  curly  hair,  wings  without  sculp- 
tured detail,  and  his  white  robe  and  mantle  once  covered  with  gilded  orna- 


li, 194. 


Fig.  46. — S.  Gabriele. 


Fig.  47. — The  Annunziata. 


ANDREA  DELLA  ROBBIA 


65 


ment.  The  Annunziata  (Fig.  47),  in  contrast,  has  extraordinarily  long 
lower  limbs,  as  if  the  sculptor  were  guided  by  some  special  impulse  rather 
than  by  a fixed  sense  of  proportion.  Her  hair  was  gilded  and  her  eyes 
have  violet  brows,  lashes,  pupils,  and  yellow  irises.  She  has  a refined, 
beautiful  face — a prototype  rather  than  a copy  of  that  of  the  Prato  Cathe- 
dral Madonna.  At  some  later  period  some  one  has  painted  in  green  over 
the  white  glaze  the  reverses  of  her  mantle,  without  completing  his  work 
by  giving  her  a blue  mantle  over  a red  tunic. 

Bibl.  : 

B.,  Kf.,  25;  W.  D.  R.,  Taf.  43;  Brogi,  231;  Burck.,  435;  C-M.,  249 
No.  274;  Cr.,  225-226,  330;  Fov.,  97,  103;  S.,  123,  Abb.  138. 


Fig.  48. — The  Cluny  Adoration. 


66 


ANDREA  DELLA  ROBBIA 


44  MADONNA  ADORING  THE  CHILD.  Paris.  Musée  de  Cluny, 
No.  279 2.  Medallion.  Diam.,  1.85m.  Photo.,  Mieusement  or  Leroy, 
No.  216. 

This  medallion  (Pig.  48)  resembles  in  general  Luca's  Adoration  in  the 
Louie  collection  at  Nimes,  but  has  been  transformed  by  Andrea.  The 
four  angels  are  arranged  in  pairs  facing  each  other  with  little  reference  to 
the  Child  whom  they  are  adoring;  the  Madonna  resembles  the  Annunziata 
in  the  Osservanza  at  Siena  ; the  clouds  are  in  strong  relief  ; the  Child,  play- 
ing with  the  drapery  beneath  him,  blessing  with  his  right  hand,  reclining 
on  green  hay,  is  less  lifelike  than  the  Child  in  the  Louie  medallion.  All  the 
figures  are  given  nimbuses. 

The  frame  consists  of  an  outer  zone  of  polychromatic  fruit  arranged 
schematically  on  white  ground,  and  of  an  inner  zone  decorated  with  eleven 
cherub  heads.  The  innermost  double  cord  or  braid  moulding  occurs  on 
other  works  by  Andrea  della  Robbia. 

Bibl.  : 

Burl.,  84;  C-M.,  64  note  1,  272  No.  418;  Cr.,  351;  M.,  A.  J.  A ., 
IX (1894),  25  note;  D.  R.  A.,  67;  R.,  D.  R.,  160;  Sc.  FI,  III,  151; 
Du  Sommerard,  Cat.,  No.  2792. 

45  MADONNA  WITH  SAINTS.  Gradara  Rocca.  Cappella  di  Conte 
Morandi.  Rectangular  altarpiece.  H.,  2.13m.;  W.,  1.86m.  Photos., 
Alinari,  No.  14813;  Moscioni,  Nos.  4987-4990. 

The  Castello  at  the  Rocca  di  Gradara,  near  Pesaro,  was  built  in  1463. 
The  framework  of  this  altarpiece  (Lig.  49),  including  the  decoration  of 
the  frieze,  the  pilasters,  and  predella  link  it  with  Andrea’s  early  works  at 
La  Verna  (1479).  The  Madonna  is  a prototype  of  the  Madonna  of  1489 
in  the  Museo  dell’Opera  del  Duomo,  Llorence.  The  predella,  with  its 
painted  pilasters,  is  to  be  classed  with  the  predella  of  Andrea’s  altarpieces 
at  Assisi  and  Siena.  The  three  scenes  of  the  predella  are:  (1)  S.  Pran- 
cesco  receiving  the  stigmata;  (2)  the  Annunciation;  (3)  S.  Maria  Egiziaca. 
In  the  first  a winged  cherub  is  substituted  for  the  glorified  Christ.  The 
modelling  of  all  three  scenes  is  inferior  to  that  of  the  central  relief.  The 
large  relief  represents  S.  Lodovico,  whose  cloak  was  gilded  with  fleurs- 
de-lys;  S.  Caterina  of  Alexandria,  crowned,  and  standing  with  folded  hands 
by  her  wheel  ; the  Madonna,  seated  on  a violet  bench,  holding  on  her  lap 
the  nude,  standing  Child  with  his  left  thumb  in  his  mouth;  S.  Maria  Mad- 
dalena with  the  box  of  ointment;  and  S.  Girolamo,  holding  a stone  against 


ANDREA  DELLA  ROBBIA 


67 


Fig.  49. — The  Gradar  a Rocca  Altarpiece. 


his  bared  heart.  Their  eyes  have  blue  brows  and  lashes,  copper  coloured 
irises  and  dark  pupils. 


Bibl.  : 

Anseimi,  A.  S.  A.,  VIII(i895),  444-446;  I.  A.  c.  I.,  1(1893-4),  78- 
79;  B.,  Kf.,  16,  26;  Burl.,  1 14  ; C-M.,  106,  235  No.  188;  Cr.,  178, 
326;  Giglioli,  54;  Michel,  IV,  124;  R.,  D.  R.,  164-165;  Sc.  FI.,  Ill, 
1 55“ 1 56  ; S.,  103  Abb.  104. 

46  MADONNA  AND  CHILD  WITH  SAINTS.  Prato.  S.  Lodovico, 
also  known  as  Oratorio  della  Madonna  del  Buon  Consiglio.  Rectang- 
ular altarpiece.  W.,  1.38m.  Photos.,  Alinari,  Nos.  10079-10082; 
Brogi,  No.  12769.  Casts,  Lelli,  439-440. 


68 


ANDREA  DELLA  ROBBIA 


The  altarpiece  (Fig.  50)  is  a replica  of  the  one  at  Gradara  Rocca, 
showing  the  Madonna  and  Child  between  SS.  Lodovico,  Caterina,  Maria 
Maddalena,  and  Girolamo,  with  the  predella  scenes  of  S.  Francesco  re- 
ceiving the  stigmata,  The  Annunciation,  and  S.  Maria  Egiziaca.  Slight 


Fig.  50. — The  Prato  Altarpiece. 

variations  may  lie  noted  in  the  poses  of  the  figures — also  in  some  details, 
e.g.,  S.  Caterina,  who  at  Gradara  Rocca  stood  with  folded  hands,  here 
holds  a green  martyr's  crown  and  a book. 

The  charming  frame  of  the  Gradara  altarpiece,  if  repeated  here,  has  been 
destroyed.  The  insignificant  framing  is  of  late  date. 


ANDREA  DELLA  ROBBIA 


69 


Bibl.  : 

Anseimi,  A.  S.  A.,  VIIK1895),  446;  I.  A.  e.  /.,  1(1893-1894),  79; 

B.,  Kf.,  17,  24;  Corradini,  44,  45;  C-M.,  106,  245  No.  250;  Cr.,  223. 
330;  Giglioli,  52-55;  R.,  D.  R.,  165,  166;  Se.  FI.,  Ili,  156. 

47  GOD  THE  FATHER  AND  ANGELS.  1484.  Montepulciano. 

Museo  Civico.  Rectangular  altarpiece.  H.,  2.92m.  ; W.,  2.50m. 

Photo.,  Alinari,  No.  9176. 

This  altarpiece  (Fig.  51)  was  made  for  the  Franciscan  church  of  the 
monastery  at  Fonte  Gastello  in  1484.  In  1785  the  monks  were  transferred 
to  S.  Agnese  and  in  1787  their  church  was  suppressed.  Their  beautiful 
altarpiece  was  placed  in  the  Misericordia,  where  it  remained  until  in  1905 
it  found  a resting  place  in  the  Museo  Civico.  The  predella  was  designed  as 
a ciborium  for  the  Sacred  Host.  Above  this  is  the  altarpiece,  with  a central 
niche  in  which  is  a painting  of  the  Dead  Christ.  About  it  is  a narrow 
frame  of  cherubs;  overhead  a medallion,  God  the  Father,  the  Holy  Dove, 
cherubs,  and  adoring  angels.  God  the  Father,  in  a circular  glory  bordered 
with  cherubs,  raises  both  hands  in  well  restrained  grief  over  the  death  of 
his  Son.  This  is  perhaps  Andrea’s  most  majestic  representation  of  the 
Father.  Twelve  angels  with  folded  hands  or  arms  crossed  on  breast  are 
symmetrically  distributed  on  either  side.  The  outer  frame  of  the  altar- 
piece  consists  of  an  entablature,  the  frieze  of  which  is  an  enriched  variant 
of  the  palmette  friezes  at  La  Verna,  the  Osservanza,  and  elsewhere — sup- 
ported on  two  slender  pilasters  ornamented  with  an  arabesque  based  on 
Luca’s  pilaster  decoration  at  Impruneta  and  used  frequently  by  Andrea 
and  his  followers. 

The  predella  is  charming  in  its  simplicity — the  two  outer  pilasters  are 
decorated  with  a network  of  cubes,  a pattern  used  several  times  by  Luca, 
and  the  central  pilaster  (one  of  which  has  been  defaced)  by  a mosaic  pat- 
tern of  rosettes  and  quatrefoils.  Both  patterns  are  found  in  other  works 
of  Andrea  at  La  Verna,  Arezzo,  and  elsewhere.  These  pilasters  separate 
the  central  ciborio  with  its  opening  framed  with  a frieze  of  cherub  heads, 
from  two  panels  figuring  the  Nativity  and  the  Adoration  of  the  Magi. 
These  are  charming  compositions.  The  Nativity  or  Adoration  of  the 
Child  by  his  parents,  and  the  ox  and  ass,  in  an  open  landscape  with  one  or 
two  trees  was  repeated  in  predella  reliefs  at  Aquila,  Arezzo  (Camposanto, 
Cathedral)  Berlin  Museum,  Florence  (Misericordia),  Foiano  ( S.  Dome- 
nico, S.  Francesco),  but  nowhere  in  such  perfection  as  here.  The  Adora- 
tion of  the  Magi  was  represented  by  Andrea  in  an  interesting  predella 
composition  at  Assisi.  Here  it  is  reduced  to  the  Madonna,  Child,  and  the 
th  ree  Magi.  Almost  a repetition  of  this  composition  may  be  seen  at  Aquila, 
but  the  predella  reliefs  of  the  same  subject  at  Florence  (Misericordia)  and 


70 


ANDREA  DELLA  ROBBIA 


London  (Victoria  and  Albert  Museum)  are  inferior.  Marcel  Reymond 
appears  to  stand  alone  in  a proper  appreciation  of  this  beautiful  altarpiece. 

Document:  [Published  by  Carocci,  III.  Fior.,  1906,  158.] 

“8  Dec.  1484. 

Item  ex  consilio  eiusdem  vinculum  et  obtentum  fuit  per  lupinos  albos 
undecim,  rubeo  nullo  in  contrarium  existente,  quod  operarii  gloriosae  Ver- 


Figs.  51-53. — The  Montepulciano  Altarpiece  and  Annunciation. 


ginis  Mariae  de  Fonte  Castello  possint  et  eis  licitimi  sit  extraere  impune  de 
comitati!  Montis  politiani  staria  centum  grani  pro  solvendo  tabulas  per  eas 
factas  a Magistro  Andrea  Marci  de  Rubio  de  Florentia." 

[Deliberazioni  del  Comune  (of  Montepulciano),  8 Dee.  1484.] 

Bibl.  : 

Brogi,  306;  Buri.,  69,  1 1 5 ; Carocci,  III.  Fior.,  1906,  i57(Doc.)  ; C-M., 
239  No.  210;  R.,  D.  R.,  173-174;  Sc.  F.,  Ili,  160-161  ; Repetti,  s.v. 
Montepulciano;  S.,  143,  Abb.  157. 


ANDREA  DELLA  ROBBIA 


71 


48  THE  ANNUNCIATION.  1484.  Montepulciano.  Oratorio  della 
Misericordia.  Statues.  H.,  i.óom.  (with  console).  Photo.,  Alinari, 
9176. 

In  blue  niches  capped  with  violet  conchs  stand  on  either  side  of  the  altar- 
piece  the  white  figures  of  S.  Gabriele  and  the  Annunziata.  Their  positions 
are  reversed  when  compared  with  the  Annunciation  group  in  the  Osser- 
vanza and  their  proportions  more  normal,  and  yet  they  should  be  attributed 
to  Andrea  himself  at  the  time  when  the  adjoining  altarpiece  was  made. 
(1)  The  Annunziata  (Fig.  52)  reflects  a face  which  we  may  see  perhaps 
for  the  first  time  in  the  S.  Rosa  (?)  of  the  Osservanza  altarpiece.  It  re- 
curs again  in  many  works  by  Andrea  and  his  followers.  Below  her  is  a 
console  with  a frieze  of  laurel  leaves  and  containing  a kneeling  figure  of 
the  donor.  (2)  S.  Gabriele  (Fig.  53),  holds  a branch  of  lilies  in  his  left 
and  blesses  with  his  right  hand.  Below  him  is  a console  with  kneeling 
figure  of  the  donor’s  wife. 

Bibl.  : 

Same  as  preceding. 

49  S.  PIETRO  MARTIRE.  1484.  Florence.  S.  Maria  Novella 
( formerly). 

In  a XVII  century  Ms.  a record  is  preserved  of  a terra-cotta  statue  of 
S.  Pietro  Martire  so  injured  as  to  be  replaced  by  a new  one  in  the  XVII 
century.  Although  no  mention  is  made  of  the  Robbias  one  thinks  natur- 
ally of  such  statues  as  the  S.  Pietro  Martire  at  Arezzo,  the  S.  Domenico  at 
S.  Croce  etc. 

Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

“ Sa  Ma  Novella 

Sopra  la  colonna  di  S.  Felicità  eravi  li  statua  di  S.  Pietro  Martire  di  terra 
cotta  consumate  dal  tempo,  parte  cade,  e parte  fu  levata  per  parvi  la  nuova. 
Dentro  un  braccio  di  detta  statua  vi  fu  un  vaso  della  stessa  terra  coperto 
con  lastra  di  rame  e dentro  il  quale  eravi  una  lamina  dipiombo  con  la 
seguente  inscrizione 

Amerigus,  ohm  Tribaldi  Guernieri  de  Rubeis  et  Tribaldus  eius  tìlius,  et 
ahi  de  Rubeis  hanc  figurami  S.  Petri  Martiris  apponi  cura(ve)runt  Anno 
Saluti)  MCCCCLXXXIV” 

[Arch,  di  Stato,  Sched.  Manoscritti,  No.  176,  busta  it  carte  del  See. 
XVIII.] 

50  MADONNA  WITH  NUDE  STANDING  CHILD  HOLDING 
DRAPERY,  TWO  CHERUBS.  Nimes.  Musée  de  Peinture  et 
Sculpture.  Eduard  Foulc  Collection.  Medallion.  Photo.,  Private. 


ANDREA  DELLA  ROBBIA 


Of  this  composition  (Fig.  54)  there  are  replicas  at  London,  Prague, 
Florence,  New  York,  Baltimore,  Messina,  Paris  and  Sevres,  but  none  finer 
than  the  Foulc  Madonna.  I am  inclined  to  think  that  the  composition  was 
evolved  from  a seated  Madonna,  though  all  indications  of  a chair  and  of 
the  Madonna’s  knees  have  disappeared.  The  two  cherub  heads  are  not  like 


a glory  or  a nimbus,  but  are  space-filling  decoration.  Usually,  however, 
clouds  are  indicated  beneath  them.  This  type  of  Madonna,  possibly  mod- 
elled from  life,  is  full  of  grace  and  charm.  The  Child  also  is  very  lifelike. 
With  her  two  hands  the  Mother  steadies  her  Child  whose  standing  might 
otherwise  seem  insecure.  The  Child  is  seen  almost  en  face,  as  if  Andrea 
realized  that  the  Child  would  thus  be  rendered  more  emphatic. 

The  frame  with  its  twisted  cord,  egg  and  dart,  bands  of  cherub  beads 
and  of  roses  link  this  frame  with  that  at  S.  Simone.  Single  and  double 
roses,  triangularly  arranged,  succeed  each  other  with  almost  perfect  regu- 
larity. Flad  there  been  eighteen  instead  of  nineteen  bunches  the  regularity 


Fig.  54. — The  Foulc  Madonna. 


ANDREA  DELLA  ROBBIA 


73 

would  have  been  complete.  The  cherubs  at  the  top  and  base  of  the  frame 
have  outspread  wings.  The  other  cherubs  have  folded  wings. 

Bibl.  : 

B.,  Denk.,  Taf.  26  ; Frizzoni,  Rass.  d'Artc,  1X11909),  30;  M., 
D.  R.  A.,  45;  V.,  588,  Fig.  394. 

Note.  Bode,  Frizzoni,  and  Venturi  all  erroneously  publish  this  Madonna 
as  in  the  Museo  Nazionale. 

51  SAME  SUBJECT.  London.  Victoria  and  Albert  Museum,  No. 
5Ó33-'59-  Medallion.  Diam.,  0.53m.  Photo.,  Private. 

This  relief  (Fig.  55),  formerly  in  the  Soulages  collection,  was  obtained 
by  the  Museum  in  1859.  It  is  a fine  example  of  the  Madonna  of  the  Fonie 


Fig.  55. — Madonna  of  the  Foulc  Type. 


type,  probably  slightly  earlier,  as  here  the  sky  is  full  of  clouds  painted  in 
Andrea’s  manner.  The  facial  types,  modelling,  the  colouring  of  the  eyes 
also  betray  Andrea's  authorship.  It  is  not  easy  to  see  in  this  medallion, 
with  Miss  Cruttwell,  an  “imitation  of  Verrocchio." 

Bibl.  : 

Burl.,  120;  C-M.,  267  No.  382;  Cr.,  346;  M.,  D.  R.  A.,  45;  Robinson, 
66  No.  5633. 


74  ANDREA  DELLA  ROBBIA 

52  SAME  SUBJECT.  Florence,  Palazzo  Vieri-Canigiani.  Medallion. 

Diam.,  0.53m. 

In  this  replica  of  the  Foulc  Madonna  the  head  of  the  Madonna  and  the 
forehead  of  the  Child  are  somewhat  damaged.  It  shows,  however,  Andrea's 
workmanship,  even  to  the  colouring  of  the  eyes. 

Bibl.  : 

Burl.,  59;  Cr.,  342;  M.,  D.  R.  A.,  45. 

53  FRAME,  CHERUB  HEADS  AND  ROSE  GARLAND.  Florence. 

S.  Simone.  H.,  with  console  1.65m.;  W.,  ini.  Photo.,  Brogi,  No. 

9705- 

In  the  church  of  S.  Simone,  Florence,  there  is  a charming  tabernacle 
(Fig.  56),  the  central  relief  of  which  was  apparently  removed  some  years 
ago.  When  I saw  it  in  1894  it  contained  a standing  polychromatic  Ma- 
donna of  the  Robbia  school,  set  on  a low  pedestal  inscribed  : SACELLV (m) 
C(orpus)  C( liristi). 

Now  it  contains  a Gothic  shrine  inscribed:  CORPVS  XPI,  intended  to 
serve  as  a ciborio,  but  used  to  shelter  a bust  of  S.  Orsola.  At  the  base  of 
the  shrine  are  the  arms  of  the  Risaliti  and  of  the  Baldovinetti  families.  I 
cannot  believe  with  Miss  Cruttwell  that  the  Robbia  tabernacle  was  orig- 
inally designed  as  a frame  for  this  earlier  shrine.  More  probably,  it  was 
designed  to  frame  one  of  Andrea's  now  frameless  Madonnas,  like  that  in 
S.  Egidio;  or  the  one  in  the  Belmont  Collection  at  Newport,  R.  I.;  or  one 
in  the  Museum  at  Palermo.  There  is  documentary  evidence  that  in  the 
year  1651,  it  framed  a door  of  carved  walnut.  But  this  carved  door  must 
have  been  removed  by  1754  when  Ridia  speaks  of  it  as  “un  tabernacolo  di 
Maria.” 

The  mouldings  of  the  frame  are  those  which  we  find  in  Luca’s  later 
works  and  the  fiorai  wreath  a conventionalized  variation  of  his  rose  gar- 
land. These  rise  from  vases  not  unlike  those  of  the  frame  of  the  Madonna 
of  the  Architects,  but  the  garland  is  even  more  Andrea-like  in  its  rhythmic 
alteration  of  single  and  double  petalled  roses  arranged  in  regular  triangu- 
lar pattern,  like  the  wreath  on  the  Salviati  stemma  of  1484  at  S.  Giovanni 
in  Valdarno  (Fig.  158).  The  cherub  heads  and  the  inscription  are  thor- 
oughly characteristic  of  Andrea’s  handiwork  of  the  period  1480-1490. 

The  inscription  PELL  ANIMA  ♦ DI  GIERI  4.  RISALITI  + EDI 
IACOPO  ♦ SVO  FILGLVOLO  t E DE  DISCENDENTI  + DI 
DETTO  IACOPO  ♦ 1363  + implies  that  this  is  a votive  offering  for 
the  souls  of  Gieri  Risaliti,  of  his  son  Jacopo  and  the  descendants  of  Jacopo. 


ANDREA  DELLA  ROBBIA 


75 

The  date  1363  is  known  to  be  the  date  that  Gieri  made  his  will  and,  from 
its  occurrence  here,  probably  also  the  date  of  his  death. 

The  console  is  attractively  designed.  A cherub  head  with  outspread 
Avings  recalling  those  of  the  S.  Michele  from  Faenza  supports  a laurel 
wreath  on  Avhich  are  combined  the  arms  of  the  Risaliti  family:  Azure,  two 


Fig.  56. — The  S.  Simone  Tabernacle. 

lions’  paws  erased  per  saltire,  argent,  with  those  of  the  Baldovinetti  family  : 
Gules,  a lion  rampant,  or.  The  union  of  these  families  occurred  when 
Jacopo  Risaliti  in  1384  married  Bartolommea  Baldovinetti.  This  date  is 
of  course  much  too  early  for  a Robbia  tabernacle,  and  the  inscription  im- 
plies that  this  tabernacle  was  not  erected  by  Jacopo  but  by  his  descendants. 


7 6 


ANDREA  DELLA  ROBBIA 


On  Sept.  4,  1449  Ubertino  di  Gherardo  Risaliti,  the  uncle  of  Jacopo,  made 
a will  providing  for  services  to  be  held  in  perpetuity  before  the  altar  of  the 
Virgin  of  the  Annunciation,  in  the  chapel  of  the  Risaliti  family.  The  Ris- 
aliti chapel  passed  into  the  hands  of  the  Romena  family,  and  the  church 
became  thoroughly  renovated. 

Documents  : 

1.  “HOC  OPUS AN.  DOMINI  M DIE  IV  IVLII 

Questa  memoria  era  nella  Tavola  della  Cappella  dell’Annunziatione  fon- 
data dalla  famiglia  de  Risaliti,  la  quale  fu  tirata  a terra  l’anno  1625  e era 
dove  di  presente  si  vede  nel  Santuario  la  Statua  di  S.  Simone,  e nella  Cus- 
todia o Ciborio  dell’Altar  Maggiore  gl’  infrascritti  caratteri,  trovati  colla 
detta  Custodia  in  luogo  seccoso,  e acciò  non  si  perdesse  tanta  memoria  di 
Noi,  mentre  f.  . . romo  al  governo  di  questa  chiesa,  l’adattassimo  sopra  la 
porta  al  didentro  della  chiesa,  acciò  servisse  d’ornamento  e custodia  d . . . 
testa  delle  compagne  di  S.  Orsola. 

Pelli  Anima  di  Gieri  Risalti  e di  Jacopo  suo  figliuolo  e discendenti  or 
detto  Jacopo  Mccclxiii” 

[Memorie  che  sono  nella  chiesa  di  SS.  Apostoli  Simone  e Giuda  Padro- 
nato dell’  Abbadia  Fiorentina.  Milan,  1664.] 

2.  “1449,  Sept.  4.  Item  in  perpetuo  qualibet  anno  die  8 Decembris 
cniuslibet  anni  dare  et  tradere  Haeredis  debeant  Presbitero  sue  Rectori 
Ecclesiae  S.  Simonis  de  Fior,  libram  unam,  et  solidos  io  et  libram  imam 
cerae  cum  hoc  quod  dictus  Presbiter,  se  Rector,  qui  pro  tempore  fuerit  in 
dieta  Ecclesia,  debeat  in  perpetuam  quolibet  anno  in  dieta  die  facere  unum 
sacrum  sub  commemoratione  conceptionis  Beatissimae  Virginis  ad  Altare 
elicti  Testatoris  institutum  sub  nomine  Annuntiatae.” 

[Quoted  by  Richa,  Chiese  Fiorentine  I,  249-250  from  the  papers  of  the 
Signori  della  Rena,  No.  78.] 

3.  “1651,  Marzo,  26.  Sopra  la  porta  verso  il  lavatorio  uno  tabernacolo 
di  terracotta  de  Risaliti  ed  suo  sportello  di  noce  intagliato.” 

[Inventory  of  S.  Simone,  Convento  79,  No.  350,  fol.  232.] 

Bibl.  : 

Ammirato,  fol.  78-79;  Ancisa,  CC  fol.  485;  EE.  fol.  602;  II,  fol.  385; 
Archivio  di  Stato,  Carte  de  Epocci,  Famiglia  Risaliti;  Carte  Gargani, 
Fani.  Risaliti;  B.  J.,  46  note,  89;  Buri.,  108;  C-M.,  212  No.  46;  C., 
s.v.  Baldovinetti,  Risaliti;  Cr.  172  note,  342;  Richa,  I,  249  (Doc.)  ; 
Rosselli,  Sepoltuario,  I,  fol.  144-145;  W.,  126,  169. 


ANDREA  DELLA  ROBBIA 


77 


54  MADONNA  WITH  NUDE  CHILD  SEATED  ON  A CUSHION. 
DOVE,  FIVE  CHERUBS.  Palermo.  Museo  Nazionale.  Round 
headed  relief.  H.,  0.87m.;  W.,  0.56m.  Photos.,  Alinari,  No.  19588; 
Brogi,  No.  13974. 

Alinari's  photographs  of  this  relief  shows  remains  of  gilding  on  the 
haloes,  as  well  as  on  the  Madonna’s  girdle  and  sleeves  and  on  the  tassels 
of  the  cushion.  When  Brogi's  photograph  was  taken  the  gilding  of  the 
haloes  had  been  removed,  together  with  the  superficial  paint  or  accumulated 
dirt  which  concealed  from  view  Andrea’s  characteristic  clouds.  The  lower 
right  hand  corner  has  been  injured  and  repaired,  so  that  the  chair  on  which 
the  Madonna  is  seated  is  indistinctly  indicated. 

In  this  composition  (Fig.  57)  the  Holy  Dove  remains,  but  God  the  Fa- 
ther is  omitted.  The  five  cherub  heads  do  not  surround  the  Madonna  and 


Fig.  57. — The  Palermo  Madonna. 


ANDREA  DELLA  ROBBIA 


Child  as  a glory,  but  are  arranged  above  their  heads  like  a nimbus.  These 
heads  are  disproportionately  large.  In  other  reproductions  of  this  Ma- 
donna in  the  Museo  Nazionale,  Florence,  in  the  Cathedral  and  at  S.  Maria 
delle  Grazie  at  Arezzo,  the  Kunst  Gewerbe  Museum  at  Hamburg,  and  in 
the  Vanderbilt  Collection,  New  York,  the  Dove  is  omitted  and  cherub 
heads  reduced  in  number.  The  Madonna  of  the  Cushion  is  found  in  one 
of  Luca’s  altarpieces  at  Pescia,  but  in  a variety  of  forms  it  occurs  in  the 
works  of  Andrea  and  his  followers.  The  Palermo  example  is  perhaps  the 
earliest.  In  type  the  Madonna  is  not  unlike  the  Madonnas  previously  de- 
scribed. Her  eyes  show  violet  brows,  lashes  and  pupils,  and  hazel  or  cop- 
per coloured  irises. 

Bibl.  : 

Burl.,  69,  1 15;  Cr.,  158;  M.,  D.  R.  A.,  54;  La  Grassa-Patti,  L’Arte, 
VI  (i 903),  44-45. 

55  MADONNA  DELLA  CINTOLA,  c.  i486.  La  Verna.  Chiesa  di 
S.  Maria  degli  Angeli.  H.,  3.88m.;  W.,  2.36m.  Photo.,  Alinari,  Nos. 
9821-9823. 


The  earliest  church  established  at  La  Verna  by  S.  Francesco  was  that 
now  known  as  the  Chiesa  di  S.  Maria  degli  Angeli  (1216-1218).  In  i486 
the  Capitolo  Provinciale  held  at  Bosco  di  Mugello  granted  to  Domenico 
Bartoli  and  his  brothers  Leonardo  and  Lorenzo  permission  to  restore  and 
adorn  this  church  according  to  their  good  pleasure  provided  they  did  not 
alter  its  form.  Its  chief  altarpiece  is  the  Madonna  della  Cintola  (Fig.  58) 
by  Andrea  della  Robbia.  The  subject  was  not  unpopular  at  the  close  of  the 
XV  and  in  the  early  years  of  the  XVI  century.  Altarpieces  with  this  sub- 
ject from  Andrea’s  atelier  may  be  seen  at  Foiano,  Frankfort,  Florence,  S. 
Fiora,  London,  and  a lunette  at  the  Accademia,  Florence,  but  this  would 
seem  to  be  the  only  example  entirely  by  Andrea’s  hand. 

The  composition  may  have  been  in  part  suggested  by  Nanni  di  Banco's 
relief  over  the  northern  portal  of  the  cathedral  of  Florence,  but  Andrea’s 
possesses  superior  charm.  The  Madonna,  represented  as  somewhat  older 
than  in  Presepio,  Adoration,  and  Coronation  scenes,  has  been  trans- 
ported to  the  skies.  Four  angels,  with  most  delicately  feathered  wings  and 
light,  fluttering  draperies  uphold  the  mandorla,  which,  detached  from  the 
background,  is  bordered  by  ten  cherub  heads.  She  is  clearly  seen  to  be 
seated  upon  clouds.  Below  the  mandorla  is  a decorative,  space-filling  cherub 
head.  The  four  saints,  S.  Gregorio  in  Bishop’s  garb,  the  Dove  at  his  ear, 
S.  Tommaso  receiving  the  cintola,  S.  Francesco  holding  a cross,  and  S. 
Bonaventura,  the  seraphic  Doctor  whose  mantle  is  covered  with  cherub 


1..U. 


ryfr^nv 


'^Bttihni.ttriiai:'.n-.tr.:u:.io>-  ri.  n ;n  n.-tr.ri:.ii..i0i:.n.nlii.jj.j0j.jj..u.'jl.j<..»..lj.':frj>.j<.j»..ii.jj..ii..i».ji..ii::ir.ii  11  n i..  jf 


■ »/«  f m 


Fig.  58. — The  La  Verna  Madonna  della  Cintola. 


8o 


ANDREA  DELLA  ROBBIA 


heads,  are  all  upon  their  knees,  apparently  upon  the  earth,  for  between  them 
is  the  sarcophagus  ornamented  with  red  and  green  porphyry  panels  and 
covered  with  roses  and  lilies.  Their  eyes,  as  in  Andrea's  early  works,  have 
yellow  irises,  and  violet  brows,  lashes  and  pupils. 

The  frame  has  many  points  of  interest.  Its  general  proportions  tend  to 


Fig.  58a. — Detail  of  Predella. 


Fig.  58b. — Detail  of  Predella. 


greater  height.  This  is  attained  by  superadding  a lunette  to  the  somewhat 
slenderer  rectangle.  Its  acroteria  of  fluted  palmettes  occur  here  for  the  first 
but  by  no  means  the  last  time.  Its  decoration  consists  of  a beautiful  figure 
of  God  the  Father  blessing  between  two  adoring  angels.  A very  similar 
God  the  Father  may  be  seen  in  the  altarpiece  of  1484  at  Montepulciano.  In 
the  cherub  frieze  we  note  that  the  five  central  heads  form  a balanced  group 
but  that  the  two  heads  at  either  end  are  posed  without  regard  to  the  next. 


ANDREA  DELLA  ROBBIA 


81 


The  slender  pilasters  have  capitals  not  unlike  those  of  the  Annunciation 
altarpiece  at  La  Verna  and  of  the  Coronation  altarpiece  at  the  Osservanza 
but  the  palmette  decoration  is  more  elaborate  and  springs  not  from  a base 
of  leaves  but  from  vases  which  have  no  handles.  Henceforth  vases  occur 
frequently  in  pilaster  decoration. 

The  predella  is  charming,  evidently  inspired  by  Luca’s  work  at  Impru- 
neta.  At  either  end  are  flat  pilasters  with  floral  scroll  work  enclosing  coats 
of  arms.  To  the  left  are  the  arms  of  Domenico  Bartoli  : Per  bend  embat- 
tled gules  and  or,  accompanied  by  two  stars  of  eight  rays  each  counter- 
changed.  To  the  right  are  the  Rucellai  arms  : per  bend  gules,  a lion  passant 
argent;  in  base,  barry  indented  azure  and  or.  As  Domenico  Bartoli  mar- 
ried Maddalena  di  Paolo  Rucellai  in  1448,  we  are  satisfied  that  this  altar- 
piece  was  their  gift  to  the  church.  The  sportello  of  the  ciborio  is  framed 
by  pendent  bouquets  of  six  petalled,  white  roses  with  green  leaves  arranged 
in  Andrea's  favorite  method.  On  either  side,  as  at  Impruneta,  are  angels 
bearing  scrolls.  Figs.  58a,  58b.  ) These  are  inscribed  : 

(1)  EGO  SVM  PANIS  VIVUS  QUI:  DE  CELO  DESCENDI  • 

(2)  QVI  MANDVCAT  MEA(M)  CARNEN  ■ ABET  VITA(  M) 

ETERNA( M)  ’ 

(3)  HIC  EST  PANIS'  QVI  DE  CELO  DESCENDIT  ■ 

(4)  QVI  MANDVCAT  HVNC  PANE(M)  VIVET  IN  ETERNVM  ■ 

The  inscriptions,  differing  in  version  and  spelling,  seem  to  have  been 
■written  by  two  different  hands. 

Bibl.  : 

Ancisa,  G.  G.  ; Beni,  257-358;  B.,  Kf.,  16;  Denk.,  84  Taf.  258;  Burl., 
1 19;  C-M.,  92,  257  No.  335;  Cr.,  166-167,  169,  326;  M.,  Scr.  Mag., 
1893,  691,  697;  R.  H.,  69-71;  Mencherini,  65,  72;  R.,  D.  R.,  161- 
162;  Sc.  FI.,  Ill,  154;  S.,  106-107,  Abb.  110-112;  Vas.,  II,  198. 

55®  HEAD  OF  AN  ANGEL.  Boston.  Museum  of  Fine  Arts.  Loaned 
by  Mrs.  T.  O.  Richardson.  H.,  0.35m.  Photo.,  Baldwin  Coolidge, 
8900. 


Fragment  of  an  angel,  possibly  a mandorla  supporter  from  an  altarpiece 
representing  the  Assumption  of  the  Virgin  (Fig.  59). 

Bibl.  : 

M.,  D.  R.  A.,  85-86,  fig.  34. 


82 


ANDREA  DELLA  ROBBIA 


Fig.  59. — Head  of  an  Angel. 


56  NATIVITY,  GLORIA  AND  SHEPHERDS.  Borgo  S.  Sepolcro. 
S.  Chiara.  Altarpiece.  H.,  3.60m.  ; W.,  2.40m.  Photo.,  Alinari, 
10376. 

This  (Fig.  60)  is  not  strictly  a Nativity.  Here  is  no  Virgin  stretched 
upon  a couch  or  mattress,  no  midwives,  no  child  being  washed.  Such  rep- 
resentations do  not  occur  in  Robbia  iconography.  It  is  rather  an  Adoration 
of  the  Child  by  his  father  and  mother,  shortly  after  the  Nativity,  and  be- 
fore their  removal  from  the  stable,  when  the  angels  are  bursting  forth  into 
their  Gloria  in  Excelsis  and  proclaiming  the  glad  tidings  first  of  all  to  the 
shepherds.  In  spite  of  polychromatic  details  this  is  essentially  a sculp- 
turesque monument  of  white  figures  against  a blue  sky.  It  belongs  to  a 
period  when  Botticelli,  Leonardo,  and  others  were  also  engaged  in  com- 
plex representations  of  similar  themes. 

The  stable  or  shed  type  of  Nativity  does  not  occur  often  in  Robbia  works. 
We  find  at  Militello  a copy  of  this  relief,  in  which  the  entire  composition 
is  reversed,  and  in  the  Victoria  and  Albert  Museum  a medallion  of  the 
Adoration  of  the  Shepherds  and  a rectangular  altarpiece  of  the  Adoration 
of  the  Magi  in  all  of  which  the  shed  occurs,  but  none  is  attributable  to 
Andrea’s  own  hand.  Here  the  Child  reclines  in  a manger  or  cradle  of 
green  hay  held  in  by  yellow  cords.  He  is  playing  with  his  scanty  garments. 


ANDREA  DELLA  ROBBIA 


Fig.  6o. — Nativity  Altarpiece.  Borgo  S.  Sepolcro. 

like  the  Child  in  the  Adoration  relief  in  Genoa.  His  adoring  parents  are 
manifestly  of  an  earlier  type  than  those  in  the  Nativity  altarpieces  at  Bib- 
biena and  Città  di  Castello.  1 he  ox  and  ass  are  here  naively  eating  hay. 
I he  shed  is  like  a ruin  with  partially  standing  walls  against  which  stands  a 
tiee  and  ovei  which  clamber  vines.  I hrough  the  broken  walls  are  seen  not 


84 


ANDREA  DELLA  ROBBIA 


only  the  Holy  Family  but  adoring  angels  with  folded  hands;  an  archangel 
surrounded  by  cherub  heads  displays  a scroll  inscribed  Gloria  in  Excelsis 
Deo.  Outside  the  shed  the  news  is  being  proclaimed  to  the  world  by 
trumpeting  angels.  In  front  of  them  are  two  angels  one  of  whom  bears  a 
scroll  inscribed  Annuntio  vobis  gaudium  magnum.  The  shepherd,  resting 
near  his  sheep,  eagerly  receiving  the  news, — even  his  dog  turns  his  head 
toward  the  angels — and  below  is  seen  another  striding,  with  sheep  over 
his  shoulder  and  dog  at  his  feet,  toward  the  spot  to  which  he  has  been 
directed. 

The  frame  has  been  improperly  adjusted.  A comparison  with  the  Mili- 
tello  altarpiece  or  with  the  Cintola  altarpiece  at  La  Verna  will  show  that 
architrave  and  predella  cornice  have  changed  places,  thus  interfering  with 
general  proportions  of  the  monument.  The  pilasters  have  ornamented 
bases,  shafts  with  floral  arabesques  rising  from  vases  and  capitals  showing 
crochets  and  pendent  palmettes.  The  frieze  of  seven  cherub  heads  is  simi- 
lar to  that  of  the  altarpiece  in  the  Metropolitan  Museum.  The  lunette  re- 
calls that  of  the  Innocenti  Hospital,  hut  is  simpler  and  perhaps  earlier  in 
type.  A serrated  palmette  and  rosette  with  semi-palmettes  serve  as 
acroteria. 

The  predella  has  lateral  pilaster  strips  on  which  are  painted  blue  vases 
as  at  the  Osservanza,  containing  hunches  of  white  roses  and  green  leaves.  In 
the  central  panel  is  a sportello  or  ciborio  for  the  sacred  wafer  and  chalice 
framed  by  a frieze  of  roses  in  triplex  composition,  as  in  the  Cintola  altar- 
piece  at  La  Verna.  To  the  left  and  right  are  kneeling  figures  of  S.  Fran- 
casco  and  S.  Chiara  and  four  angels  charmingly  designed. 

Bibl.  : 

Brockhaus,  59;  C-M.,  229  No.  150;  Cr.,  186,  223,  327;  Michel,  IV, 
124;  R.,  D.  R.,  182-185;  Sc.  FI,  III,  166. 

57  STEMMA  OF  THE  ARTE  DELLA  LANA.  1487.  Florence. 
Opera  del  Duomo.  (1)  Sala  della  Deputazione.  (2)  Vault  of  Hall. 
Diam.,  0.95m.  Photo.,  Alinari,  17098.  Cast,  Lelli,  1156. 

Idle  Arte  della  Lana  took  a leading  part  in  the  building  of  the  Cathedral 
and  of  the  Palazzo  for  the  Operai.  The  old  Palazzo  in  1390  was  decorated 
with  stone  medallions  emblazoned  with  the  stemma  of  the  Arte  della  Lana. 
In  1432  the  residence  of  the  Operai  was  transferred  to  the  rear  of  the 
Cathedral.  Here  are  two  Robbia  stemmi  of  the  Arte  della  Lana  (Fig.  60a). 
On  a field  azure  is  the  Agnus  Dei.  nimbed,  argent,  carrying  a banner  in- 
scribed with  a Croce  del  Popolo,  gules.  In  chief  is  a label  of  five  points  en- 
closing four  lilies  of  the  Commune,  gules.  The  garland  consists  of  triplex 


ANDREA  DELLA  ROBBIA 


85 


bunches  of  fruit  separated  by  fluted  (yellow)  ribbons.  Two  examples  of 
this  stemma  still  exist  in  the  Opera  del  Duomo.  The  one  in  the  vault  of 
the  hall  appears  to  be  the  “chompasso  della  volta  della  stanza  dell'Opera'' 
ordered  from  Andrea  della  Robbia  in  i486  and  paid  for  in  i486  and  1487 


Fig.  60a. — Stemma  of  the  Arte  della  Lana. 


Documents:  [Copied  by  Mr.  Rufus  G.  Mather.) 


1.  “+  MCCCCLXXXXVJ 

Andrea  di  marcho  della  Robbia  de 
dare  adj  iij  eli  marzo  1 dodici  s x 
picciol.  porto  giovanili  suo  fig- 
luolo  contanti  per  parte  dun 
chonpaso  dato  allopera  per  la  vol- 
ta sopra  e minjstrj  per  poliza  del 
proveditore  clj  no  63- 

1 12  s 10  clj  — 

1487  E eli  dare  adi  xxvij  di  marzo 
1487  1 dodicj  sx  piccioli  porto  e 
detto  chontanti  per  Resto  del 
chonpasso  delle  volta  della  stanza 
dellopera  per  poliza  del  provedi- 
tore — 1 12  s io  dj  — ” 

3.  “+  MCCCCLXXXVIJ 

Spese  doperà  di  Santa  maria  del 
fiore  deono  dare 


2.  “+MCCCCLXXXVJ 

Andrea  di  marcho  della  Robbia 

chontro  scritto  de  avere  adi 

xxx  di  giungnjo  1 venti  cinque 

piccoli  per  luj  da  spese 

doperà  posto  debbino 

dare  in  questo  c.  69-  1 25  s — " 


86 


ANDREA  DELLA  ROBBIA 


E cleono  dare  adi  xxx  di  giungnjo 
1 ventj  cinque  piccioli  per  loro  a 
Andrea  di  marcho  della  robbia 
posto  debbj  avere  in  questo  c 42 
chonpassi  fatt  j adopera  per  poliza 
del  proveditore  di  n°  281 

1 25  s — ” 

[Archiv.  dell'Opera  di  S.  Maria  del  Fiore,  Quaderno  di  Cassa  di  Tomaso 
di  nicholo  giovan  Kamerario  per  6 mesi  corniciati  adi  primo  di  giennaio 
MCCCCLXXXVIJ  c.  41*,  42,  69.] 

Bibl.  : 

M.,  R.  H.,  5 7 Fig.  57,  58(Doc.);  R.  G.  M.,  L’Arte,  XXI(i9i8), 
205(Doc.);  Poggi,  Cat.,  7-12,  23;  Staley,  164,  168. 


Fig.  61. — S.  Lodovico. 


58  (1).  S.  LODOVICO  DA  TOLOSA.  (2).  S.  BONAVENTURA. 

Siena.  Osservanza  (in  the  ceiling).  Medallions.  Photos.,  Private. 

Set  into  the  vault  of  the  nave  of  the  church  are  two  medallions  respre- 
senting  S.  Lodovico  Episcopo  and  S.  Bonaventura. 

1.  S.  Lodovico  (Fig.  61)  is  posed  somewhat  as  in  the  altarpieces  at 


ANDREA  DELLA  ROBBIA 


87 


Prato  and  Gradara  Rocca,  but  has  the  greater  charm  of  naivete.  He  wears 
the  nimbus,  episcopal  mitre,  and  gloves,  and  carries  a crozier  and  book. 
His  mantle  is  decorated  with  large  fleurs-de-lys.  The  heavy  frame  of  fruit 
and  foliage,  almost  devoid  of  flowers,  is  composed  in  triplex  bunches  sepa- 
rated by  double  or  triple  unfluted  bands  straight  across. 

2.  S.  Bonaventura  (Fig.  62),  also  arrayed  in  episcopal  attire,  carries  a 


Fig.  62.— S.  Bonaventura. 


book  and  is  blessing.  His  mantle  is  painted  with  cherub  heads.  He  is  here 
younger  than  in  the  medallion  on  the  porch  of  the  hospital  of  S.  Paolo.  The 
frame  is  similar  in  style  to  that  of  its  companion  piece,  but  with  reversed 
movement. 

Bibl.  : 

Brogi,  230;  S.,  PI.  Siena's,  205. 

59  MADONNA  DELLE  GRAZIE.  Arezzo.  S.  Maria  in  Grado. 

Round-headed  altarpiece.  H.,  2.60m.;  W.,  2.33m.  Photo.,  Alinari, 

9722. 

Vasari  mentions  this  altarpiece  as  being  by  Andrea’s  own  hand  and  calls 
it  “una  tavola  bellissima  con  molte  figure.”  It  represents  the  Madonna 
della  Misericordia,  del  Soccorso,  or  delle  Grazie  (Fig.  63).  Beneath  her 
cloak  are  sheltered  the  people  of  Arezzo,  nuns  and  ladies  to  the  left,  eccle- 
siastics and  civilians  to  the  right.  Amongst  the  latter  in  full  face  is  a por- 
trait head  possibly  of  the  elder  Luca  della  Robbia.  In  type  and  composi- 


88 


ANDREA  DELLA  ROBBIA 


tion  this  Madonna  seems  to  be  not  far  removed  from  the  Madonna  in  the 
lunette  of  the  Cathedral  at  Prato.  The  Child  is  almost  a replica  of  the 
Child  in  the  Prato  lunette.  The  Madonna’s  eyes  have  blue  brows  and  lids. 


Fig.  63. — Madonna  della  Grazie. 


dark  copper  coloured  pupils  and  golden  irises.  To  the  left  stands  S.  Pietro 
with  book  and  key,  and  to  the  right  S.  Benedetto  with  aspergill  and 
book.  Both  types  were  inspired  by  Luca’s  Apostles  in  the  Pazzi  chapel. 
Overhead  are  two  charming  angels  who  draw  back  the  Madonna's  mantle 


ANDREA  DELLA  ROBBIA 


'89 


and  hold  above  her  a lilied,  golden  crown.  Still  higher  are  the  outspread 
hands  of  God  the  Father,  the  Holy  Dove  and  two  cherubs.  The  finely 
modelled  head  of  the  Father,  with  its  unusual  triangular  nimbus,  appears 
to  have  been  designed  for  the  position  it  occupies,  although  Miss  Cruttwell 
declares  it  to  be  a modern  stucco  addition.  From  either  side  hang  garlands 
of  fruit  arranged  in  conventional  triplex  bunches,  separated  so  as  to  reveal 
the  background,  their  stems  bound  by  narrow  ribbons.  The  predella  shows 
half  figures  of  S.  Michele,  the  Mater  Dolorosa,  Christ  in  sepulchre,  S.  Gio- 
vanni, and  S.  Francesco.  At  either  end  is  an  oval  shield  displaying  the 
Carbonati  arms  : Gules,  two  mounts  of  six  tops  vert  ; in  base  a rose  or. 
According  to  Sac.  Anastasio  Banfi,  the  founder  of  the  chapel  and  donor  of 
the  altarpiece  was  probably  Sig.  Valerio  Tommasi  Carbonati,  member  of 
a noble  family  of  Arezzo. 

Bibl.  : 

B.  G.,  sub  Feb.  7;  B.  J.,  76;  B.,  A.  S.  A.,  11(1889),  3;  Denk.,  87; 
Burckh.,  434;  Burl.,  112;  C-M.,  84,  90-92,  224  No.  1 1 5 ; Cr.,  182, 
325;  Fov.,  108;  M.,  R.  H.,  75,  Fig.  76;  Pasqui,  Invent,  d.  Mon.  di 
Toscana  ed  Opera  d'arte  della  Provincia  d’Arezzo-schede  per  S.  Maria 
in  Gradi  di  Arezzo  (Manuscript).  R.,  D.  R.,  197-199;  Sc.  FI.,  Ill, 
172-174;  Vas.,  II,  179. 

60  S.  AGOSTINO(  ?).  Borgo  S.  Sepolcro.  Duomo.  Statue.  H.,  2m. 
Photo.,  Alinari,  No.  10373. 

S.  Agostino ( ?)  or  S.  Antonino  (Fig.  64),  in  episcopal  garb,  is  an 
early  and  fine  example  of  polychromatic  enamelling  by  Andrea  della 
Robbia.  His  face,  left  unglazed,  was  painted  in  flesh  colour,  his  mitre 
adorned  with  green,  violet,  yellow,  and  blue  jewels.  His  cloak,  of  a rich 
blue,  with  green  collar  and  lining,  has  a broad  border  with  an  arabesque 
derived  from  Luca's  work  at  Impruneta  and  used  by  Andrea  at  La  Verna, 
Assisi,  Empoli  and  elsewhere.  It  has  also  a fringe  of  green,  yellow  and 
blue.  He  holds  a violet  book  studded  with  yellow.  The  console  adorned 
with  cherub  heads  and  olive  leaves  is  evidently  Andrea's  design. 

There  were  nine  Florentine  Capitani  and  Commissarii  at  Borgo  between 
1480  and  1490  whose  stemmi  in  Robbia  ware  decorate  the  Palazzo  Tribu- 
nale. One  of  these,  possibly  Lorenzo  di  Giovanni  Bartoli,  may  have  been 
the  donor  of  the  statue. 

Bibl.  : 

Cr.,  335;  Graziani,  150  note  1,  152;  Repetti,  s.v.  Sansepolcro. 


90 


ANDREA  DELLA  ROBBIA 


61  S.  BENEDETTO.  Borgo  S.  Sepolcro.  Duomo.  Statue.  H.,  2111. 
Photo.,  Alinari,  No.  10372. 

S.  Benedetto  (Fig.  65),  patriarch  of  the  order  of  the  Camaldolesi,  clad  in 
white,  carries  the  aspergill  and  a green  book  with  yellow  fittings.  His 


Fig.  64. — S.  Agostino  (?) 


Fig.  65. — S.  Benedetto. 


face  and  hands  are  unglazed.  The  console  with  cherub  head  and  olive 
leaves  resembles  that  of  the  companion  statue  in  the  same  Cathedral. 

It  may  be  recalled  that  the  cathedral  at  Borgo  S.  Sepolcro  was  founded 
as  a Camaldolese  abbey. 

Bibl.  : 

Cr.,  335;  Oraziani,  150  note  1,  151. 


62  MADONNA  AND  CHILD  BETWEEN  SS.  STEFANO  AND 
LORENZO.  1489.  Prato.  Duomo,  over  entrance  portal.  Lunette. 


ANDREA  DELLA  ROBBIA 


9i 


H.,  1.63m.;  W.,  2.63m.  Photos.,  Alinari,  No.  10005;  Brogi,  No. 

12707. 

The  lunette  over  the  entrance  portal  of  the  Cathedral  of  Prato  (Fig. 
66)  is  not  only  a documented,  dated  work  by  Andrea  della  Robbia  but  a fine 
example  of  his  handiwork. 

The  pointed  form  of  the  lunette  was  determined  by  the  architect,  Giovan- 
ni Pisano,  in  the  XIV  century.  Into  the  foliations  of  the  arch,  Andrea 
could  not  resist  placing  a series  of  cherub  heads.  They  are  set  against  a 


Fig.  66. — The  Prato  Cathedral  Lunette. 

dark  blue  background.  According  to  the  contract  there  should  be  cherub 
heads  below  as  well  as  on  the  sides  and  above  the  lunette.  There  is  no 
lower,  limiting  moulding,  hence  in  some  cases  the  clipping  of  the  lower 
wings  of  the  cherubs  is  unpleasing.  Andrea  has  however,  treated  the  heads 
sympathetically  and  with  facile  variety.  Note  the  absence  of  monotony  in 
the  treatment  of  the  hair,  the  eyes,  the  mouths,  and  how  even  the  pose  of 
the  heads  does  not  follow  schematically  the  lines  of  the  arch.  At  the  base 
is  inscribed  OP(ER)A  ♦ 1489. 

The  background  of  the  central  relief  is  of  a lighter  blue  and  the  clouds, 
used  to  conceal  the  joints,  are  vaguely  indicated.  The  Madonna  is  delicate 
and  beautiful.  Her  veil  doubly  folded  shows  very  slight  kinks  above  the 
forehead  and  is  loosely  tied  into  a knot  on  her  breast.  Beneath  it  four  long 


92 


ANDREA  DELLA  ROBBIA 


tresses  of  hair  fall  upon  her  left  shoulder.  Her  mantle,  once  ornamented 
with  gold,  hangs  in  somewhat  complicated  folds  over  both  arms,  but  else- 
where is  simpler.  The  smoothly  modelled  Child  places  the  middle  finger 
of  his  left  hand  in  his  mouth.  S.  Stefano,  with  a stone  on  his  head,  and 
S.  Lorenzo,  standing  by  his  gridiron,  are  similarly  clad  in  deacon’s  robes 
and  carry  green  palms.  Their  eyeballs  are  flattened,  and  have  dark  pupils 
and  copper  coloured  irises.  Eyebrows  and  lashes  are  violet.  The  collars 
of  both  deacon  saints  are  decorated  with  palmettes. 


Documents  : 


partito 

dellalogazione 
della  nostra 
donna  sopra 
alla  porta 
della  pieve 


[Revised  by  Mr.  Rufus  G.  Mather.] 
i.  “die  3 novembre  1489 

Prefati  operaij  Cappelle  cingulis  Virginis  marie  de  prato 
congregati  in  eorum  audientia  inter  eos  misso  et  fermato 
per  4 fabas  nigras  nulla  alba  in  contradio  locaverunt  Andrea 
marci  simonis  della  robia  populi  S.  laurentii  de  florentia  in- 
frascriptam  rem  vulgariter  videlicet  una  meza  nostra  donna 
col  figliuolo  in  brado  con  dua  santi  dalato  nel  quadro  cioè 
’narchuo  della  porta  maggiore  della  pieve  di  prato  cioè 
quella  che  va  inverso  al  veschovado  in  questo  modo  cioè  una 
meza  nostra  donna  col  figliuolo  in  brado  dalato  dirito  di 
terra  chotta  e a esser  nel  champo  azzuro  e dalato  ritto  a 
esser  Santo  Stefano  e dalato  mancho  S lorenzo  e medesimi 
santi  anno  avere  uno  campo  azurro  buono  e di  sotto  dallato 
e di  sopra  che  gira  intorno  a esser  uno  archulo  di  serafini  e 
quali  figure  anno  a esser  bianche  invetriate  e tutte  le  sopra- 
dette chose  dove  bixognasse  anno  a esser  adorne  doro  fine 
e ne  elianti  da  parte  debbe  fare  nelluno  elianto  el  segno  del- 
lopera  e nellaltro  canto  el  mileximo  tutte  le  dette  chose 
adorne  in  buona  forma  E se  paresse  a detti  operai  fare 
cholorire  detti  santi  e figure  detto  andrea  sia  tenuto  a fargli 
la  quale  opera  debba  avere  fatta  e posta  in  prato  nella  detta 
opera  a tutte  le  sue  spese  di  gabella  e vettura  per  tutto  el 
mese  di  marzo  proximo  avvenire  e debbe  stare  qui  continov- 
amente  a metterla  sopra  detta  porta  e detti  operai  sieno 
tenuti  a fare  fare  e ponti  e dare  un  maestro  di  eazuola  e 
galcina  bixognando  adogni  spesa  di  detta  opera  e detti 
operai  in  nome  di  detta  opera  promettono  dare  e pagare  a 
soprascritto  andrea  per  suo  pagamento  fiorini  venticinque 
larghi  doro  in  oro  cioè  f xxv  larghi  doro  in  oro  finita  detta 
opera  e detto  tondo  e fiure  dorate  debbono  corrispondere 
secondo  alluogho  dove  anno  a esser  sopra  detta  porta 


ANDREA  DELLA  ROBBIA 


93 


partito  che  Item  prefati  operali  servatis  servandis  deliberano  ciuod  Lo- 

lorenzo  cam”  . . 

(camerario)  renzo  coct  camerario  de  dare  solvere  soprascripto  andrea 

fanghi  V Pro  parte  solute  f quinque  larghi  dauro  in  auro  e in 

Andrea  di  marcho  soprascripto  lorenzo  soprascripta  Indictione  flore 

(nos)  quinque  largos  in  presentia  nostra  soprascripti 

operai  j” 

[Archivio  del  Patrimonio  Ecclesiastico,  Prato.  Opera 
della  Cappella  del  Sagro  Cingolo,  Libro  delle  Deliberazioni- 
segnato C.,  Voi.  I,  c.  29.] 

2.  “1496,  9 maggio. 

Antonio  di  geri  muratore  e domenicho  di  puccio  debono 
avere  infìno  a dì . . . daprile  per  quattro  opere.  . . mesono  a 
rompere  e murare  sopra  alla  porta  dove  si  mise  la  vergine 
maria  1.  tre  s.  quattro  e a rimurare  e aiutare  la  vergine 
maria” 

\Op.  cit.,  c.  276.] 

Bibl.  : 

B.  J.,  72;  B.,  Kf.,  16,  24;  Denk.,  85,  Taf.  266;  Buri.,  116;  Corradini, 
io,  15;  C-M.,  104,  245  No.  246;  Cr.,  179,  326;  Desc.  d.  Catt.  d.  Prato, 
27;  Fov.,  107;  M.,  Scribner's,  1893,  686;  Papini,  L'Arte , 1912,  38-39 
(Doc.)  ; R„  D.  R.,  168;  Se.  Fi,  III,  157;  Vas.,  II,  199;  V.,  VI,  584. 


63  S.  LORENZO.  Brancoli.  S.  Lorenzo.  Photo.,  Alinari,  No.  8387. 


In  the  church  at  S.  Lorenzo  at  Brancoli  is  a statue  in  high  relief  of  S. 
Lorenzo  (Fig.  67)  set  in  a niche.  He  wears  diaconal  robes,  carries  a green 
palm  and  a book.  A black  gridiron  is  at  his  side.  It  may  be  dated  soon 
after  the  S.  Lorenzo  of  the  Prato  Cathedral  lunette  (1489)  and  before 
that  at  the  Quercia,  Viterbo  (1507-1508). 

The  gilded  borders  of  the  robe  follow  Andrea’s  patterns. 


Bibl.  : 

Burl.,  1 16;  C-M.,  242  No.  228;  Cr.,  335;  R.,  D.  R.,  258;  Nr.  FI,  III. 
IV,  64;  Ross  and  Erichsen,  320. 

64  THE  NATIVITY.  1489.  Florence.  Palazzo  dell'Arte  de’Giudici  e 
Notai,  Via  Proconsolo  (formerly).  Lunette.  Over  new  door. 

This  relief  is  no  longer  in  place  and  its  whereabouts  is  unknown.  The 
composition  we  may  believe  did  not  vary  greatly  from  that  of  the  Nativity 
altarpiece  at  S.  Chiara,  Borgo  S.  Sepolcro.  The  document  noted  by  Mila- 
nesi, was  published  for  the  first  time  by  Mr.  Rufus  G.  Mather. 


94 


ANDREA  DELLA  ROBBIA 


Fig.  67. — S.  Lorenzo. 


Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

“Die  XXVI  novembris  1489. 

1.  prefati  d(omi)n(u)s  Proco (n) sul  et  co (n) sides  una 
simul  cu(m)  co (n) siliarijs  del  xij  diete  artis. 

In  sudicie (n)tibus  numeribus  collegiabiter  co(n)gregati 

etc.  servatis  servandis  et  obte(n)to  partito 

secundum  ordinem.  Deliberaveru(n)t  et  Stantiaveru(n)t 

Quod  came(rarius)  diete  artis  de  pecunia 

sui  cameratus  det  et  solvat  ut  i(nfra)  vz (videlicet)  . . . 


Andrea  della  Robbia  pro  quoda(m)  cholmo  nati- 

vitatis  d(omi)nj  Yhu  Xpi  pro  colloca (n)dum  super 

dicta (m)  Janua(m)  nova(m)  diete  artis  de  terra  chocta 

i(n) vetriata  etc.  florenos  quinque  larghos  aurj  i(n) 

auro  vz(videlicet)  i(n)  totu(m)  1.  trigi(n) ta  duas.-  f - 1 32  - sol  - dj 


ANDREA  DELLA  ROBBIA 


95 


[Archiv.  di  Stato,  Arte  de’Giudici  e Notai,  Libro  d’Atti  e di  entrata,  2 
Sept.-29  dicembre  1489,  segnato  Arti  I,  cod.  258,  c.  44.] 

2.  “Exitus  Die  28  nove(m)bris  1489. 

Andree  della  Robbia  pro  quoda(m)  cholmo 
nativitatis  Yhu  Xpi  sito  super  dictam  Janua(m) 

1.  trigintaduas  vigorj  stantiamenti  in  isto  a 

c.  44  - 1.  32.  sol.  - dj — " 

[Archiv.  idem,  Cod.  idem,  c.  46.] 

Bibl.  : 

R.  G.  M.,  L’Arte,  XXI(i9i8),  205(Doc.);  Milanesi,  Misceli.  44 
III  p,  c.  74. 

65  CRUCILIXION.  La  Verna,  Cappella  delle  Stimate.  H„  6m.  ; W„ 
4.20m.  Photo.,  Alinari,  No.  9835. 

In  the  Cappella  delle  Stimate  founded  in  1263  by  Count  Simone  da  Bat- 
tifolle the  large  altarpiece  representing  the  Crucifixion  was  presented  by 
some  member  of  the  Alessandri  family,  whose  coat  of  arms — Azure,  a bi- 
capited  lamb  trippant,  argent — appears  twice  upon  the  predella.  It  is  not 
improbable  that  the  donor  of  this  altarpiece  was  Maso  di  Niccolaio  d’Ugo 
di  Bartolo  Alessandri,  Gonfaloniere  at  Llorence  in  1466  and  1488.  His 
father  Niccolaio  was  elected  in  1432  by  the  Arte  della  Lana  as  one  of  the 
first  of  the  Conservatori  del  Sacro  Monte  (La  Verna).  The  altarpiece 
(Lig.  68)  is  one  of  the  masterpieces  of  Andrea  della  Robbia. 

The  central  composition  represents  the  Crucifixion  not  as  an  historical 
event,  but  as  a religious  drama.  As  the  old  Nativity  had  been  transformed 
into  an  Adoration  of  the  Child,  so  the  Crucifixion  became  a Lamentation 
over  Christ  crucified.  Much  of  the  old  symbolism  remains.  Above  the 
cross  on  a green  pine  tree,  is  the  pelican,  plucking  her  heart  to  feed  her 
young  with  her  blood.  Immediately  below  is  a scroll  inscribed  I(esus) 
N(azarenus)  R(ex)  I(udaeorum),  on  either  side  of  which  the  sun  and 
moon  are  transformed  into  melodramatic  masks  (possibly  later  insertions). 
The  Christ — with  his  mustard  yellow  hair,  livid  body,  and  the  blue  nails 
that  fasten  his  hands  and  feet  to  the  cross  on  which  the  graining  of  the 
wood  is  carefully  imitated — is  more  realistic  than  was  customary  with 
Andrea  della  Robbia.  But  had  not  Luca  before  him  in  the  stemma  of  the 
Physicians  at  Or  San  Michele  made  a similar  realistic  colour  experiment? 
The  four  couples  of  angels  who  in  sorrowful  adoration  surround  the  cross 
are  the  most  expressive  of  Andrea’s  angels — finer  than  those  of  the  Cin- 
tola altarpiece  at  La  Verna  or  of  the  Tabernacle  in  the  Misericordia  at 
Montepulciano.  The  clouds  which  are  displayed  over  the  entire  background 


Fig.  68. — The  La  Verna  Crucifixion. 


ANDREA  DELLA  ROBBIA 


97 


are  sharp  and  clear  as  in  some  of  Andrea’s  earlier  works.  At  the  foot  of 
the  cross  S.  Francesco  and  S.  Girolamo  are  subordinated  to  the  Madonna 
and  S.  Giovanni.  All  are  sorrowful,  but  the  restrained  quiet  of  S.  Giovanni 
is  most  remarkable.  As  an  artistic  creation  it  is  superior  by  far  to  Luca’s 
S.  Giovanni  in  the  Crucifixion  scene  at  Impruneta.  It  may  be  noted  that 
the  eyes  of  the  four  standing  figures  have  yellow  irises,  blue  brows  and 
lashes  and  dark  pupils. 

On  the  predella  is  inscribed  from  the  Lamentations  of  Jeremiah,  I,  12: 

O VOS  OMNES  OVI  TRA(N)SITIS  P(ER)  VIAM  ATTE(N)DITE 
ET  VIDETE  SI  EST  DOLOR  SICVT  DOLOR  MEVS 

The  frame  is  the  finest  example  of  the  double  frames  which  occur  not 
infrequently  in  Andrea’s  works.  The  outer  frieze  consists  of  a succession 
of  bunches  of  fruit  (no  flowers)  tied  together  by  light  polychromatic, 
sinuous  ribbons  and  rising  from  light  blue  amphorae.  At  the  apex  of  the 
arch  enclosed  in  a circle  is  the  Holy  Dove  emitting  flames  of  fire.  Be- 
tween a rounded  billet  and  a knotted  cord  moulding  is  a fine  series  of 
cherub  heads,  twenty-three  in  all,  each  with  three  pairs  of  wings.  In  gen- 
eral, the  cherubs  look  inward  toward  the  central  picture.  On  the  curved 
portion  of  the  frieze  they  are  set  perpendicularly  to  its  direction,  on  the 
vertical  portions  they  are  parallel  to  it.  Clouds  are  set  between  each  head. 

Bibl.  : 

Beni,  361-362;  B.,  Kf.,  16;  Denk.,  84,  Taf.  259;  W.  D.  R.,  Taf.  38; 

Burl.,  1 19;  C-M.,  92,  257  No.  333;  C.,  s.v.  Alessandri;  Cr.,  168-170. 

327;  Fov.,  108;  Gerspach,  Rass.  d’Arte,  VI  (1906),  15;  M.,  D.  R.  A., 

1 19;  R.  H.,  72-73;  Mencherini,  69-70,  204-208;  P.,  455*457;  R-. 

D.  R.,  174-176;  Sc.  FI.,  Ill,  155,  161  ; S.,  108  Abb.  113;  V.,  VI,  591  ; 

W„  125. 


66  WALL  TILES.  La  Verna.  Cappella  delle  Stimate.  Photo.,  Private. 

Below  the  altarpiece  of  the  Crucifixion,  the  entire  wall  is  decorated  with 
Robbia  tiles  (Fig.  69).  This  imitation  of  three  rugs  with  charming  bor- 
ders and  fringes  which  enclose  a series  of  squares  of  incongruous  patterns 
crudely  framed,  was  evidently  not  originally  designed  for  this  locality.  I 
am  inclined  to  believe  that  the  border  was  designed  by  Luca  della  Robbia 
for  the  pavement  of  the  study  of  Piero  de’Medici  and  was  used  by  Andrea 
at  Empoli,  at  S.  Gimignano,  and  at  S.  Fiora.  The  pattern  in  the  inner 
squares:  (1)  nail  or  diamond  heads;  (2)  quatrefoils  enclosing  rosettes; 
and  (3)  cubes — used  by  Andrea  at  Arezzo,  Montepulciano  (1484)  and 


98 


ANDREA  DELLA  ROBBIA 


elsewhere— were  employed  also  by  Giovanni  and  other  designers  in  the 
Robbia  school. 

Bibl. 

M.,  L.  D.  R.,  91-92,  Fig.  53;  R.  H.,  72,  73,  Fig.  73. 


Fig.  69. — Wall  Tiles.  La  Verna. 


67  THE  TRINITY  AND  SAINTS.  Arezzo.  Duomo.  Cappella  della 
Madonna.  Altarpiece.  H.,  3.70m.  ; W.,  2.60m.  Photo.,  Alinari, 
No.  9702. 


Fig.  70. — The  Trinity  Altarpiece.  Arezzo. 


IOO 


ANDREA  DELLA  ROBBIA 


Vasari,  in  his  account  of  Andrea  della  Robbia,  says  “also  in  the  Com- 
pagnia della  Trinità,  by  the  high  altar  there  is  by  his  hand  an  altarpiece  in 
which  God  is  represented  upholding  in  his  arms  Christ  crucified,  surrounded 
by  many  angels,  and  below  on  their  knees  S.  Donato  and  S.  Bernard.” 
This  monument  (Fig.  70)  was  transferred  in  1811  to  the  Cappella  della 
Madonna  of  the  Cathedral  of  Arezzo.  On  the  predella  is  at  either  end  the 
monogram  TR(INITA)S,  and  in  the  centre  the  brothers  of  the  compagnia 
kneeling  before  an  image  of  the  Madonna.  This  Madonna,  seated,  holding 
a nude  standing  Child  blessing,  occurs  in  an  altarpiece  in  the  Campo  Santo, 
Arezzo;  in  rectangular  reliefs  in  the  Endicott  collection,  Boston,  and  the 
Liechtenstein  Collection,  Vienna;  in  a round-headed  relief  formerly  in  the 
Bardini  collection  (No.  512  in  sale  catalogue  of  1902)  ; and  in  tondi  in  the 
Berlin  Museum  (No.  107),  and  at  Valenzano.  An  inferior  copy  is  in  the 
Museo  Buonarotti,  Florence. 

The  Crucifixion  is  less  realistic,  more  doctrinal  than  the  Crucifixion  at 
La  Verna,  where  Saints  and  Angels  are  overcome  with  sorrow.  Here  the 
divine  nature  in  its  Trinitarian  aspect  is  emphasized.  Father,  Son  and  Holy 
Ghost  form  a visible  unit.  The  six  pairs  of  angels,  the  six  cherubs,  the 
kneeling  S.  Donato  and  S.  Bernardino  are  not  overwhelmed  with  grief,  but 
are  filled  with  wondering  adoration.  The  Christ  has  yellow  hair,  a green 
crown  and  livid  greenish  flesh.  The  cross  imitates  the  colour  and  graining 
of  wood,  and  its  upper  portion  is  enveloped  in  clouds.  Below  it  is  wedged 
into  the  ground  which  is  indicated  as  Calvary  by  its  symbol,  a skull.  S. 
Donato’s  dragon  is  green  with  dark  spots. 

Of  the  outer  frame  the  bunches  of  fruit  are  more  monotonous  and  their 
ribbons  less  complicated,  than  in  the  Crucifixion  at  La  Verna.  The  archi- 
tectural mouldings  and  the  cherub  frieze  are  also  slightly  inferior  in  the 
Arezzo  altarpiece. 

Bibl.  : 

B.  ].,  74-75  ; B.,  Kf.,  16;  Denk.,  84,  Taf.  260;  C-M.,  77,  84-85,  223 
No.  no;  Cr.,  170,  325;  D.  D.,  33,  Abb.  51;  Fov.,  108;  M., 
D.  R.  A.,  36;  Michel,  IV,  124;  Nagler,  XIII,  226;  Pasqui,  140-141; 
Perkins,  LI.  LL,  144;  R.,  D.  R.,  177;  Sc.  FI.,  Ill,  162,  163;  S.,  108, 
Abb.  1 14;  Vas.,  II,  179;  V.,  VI,  590  Fig.  397;  Vita,  53,  Fig.  76. 

68  MADONNA  AND  CHILD  BETWEEN  SAINTS.  Florence.  Ac- 
cademia dei  Belle  Arti.  Vestibule.  Lunette.  IT,  1.30m.;  W.,  2.60m. 
Photos.,  Alinari,  3656;  Brogi,  3542. 

The  polychromatic  lunette  (Fig.  71)  now  in  the  entrance  vestibule  of 
the  Accademia  is  said  to  have  come  from  the  convent  of  S.  Orsola,  a Bene- 
dictine establishment  which  in  1435  came  under  Franciscan  rule  and  was 


ANDREA  DELLA  ROBBIA 


IOI 


merged  with  the  sisterhood  of  S.  Agata.  It  is  difficult  in  the  absence  of 
distinctive  attributes,  to  determine  whether  the  sainted  martyr  to  the  right 
is  to  be  called  S.  Orsola  or  S.  Agata. 

I am  inclined  to  attribute  this  lunette  to  Andrea  della  Robbia  at  the  time 
when  he  made  polychromatic  works,  like  the  altarpiece  in  the  Cathedral  of 
Arezzo  and  the  medallions  on  the  loggia  of  S.  Paolo.  In  type  the  S.  Fran- 


Fig.  7 1. — Lunette  of  the  Madonna  and  Saints. 

cesco  is  not  far  removed  from  the  S.  Francesco  in  a niche  at  La  Verna. 
The  S.  Orsola  in  violet  tunic  with  white  mantle  is  most  charming.  The 
composition  of  the  Madonna  and  Child  occurs  later  over  the  Pistoia  Cathe- 
dral portal,  but  with  lessened  grace.  She  is  clad  here  in  violet,  and  her 
blue  mantle  has  a yellow  lining.  The  attempt  to  give  flesh  colour  to  the 
cheeks  and  to  portray  ruby  lips  may  not  altogether  be  endorsed  by  the 
aesthetic  standards  of  today,  but  Luca  della  Robbia,  in  the  Madonna  on 
Or  San  Michele,  and  Andrea,  on  the  loggia  of  S.  Paolo,  conformed  as  here 
to  the  demands  of  the  day. 

The  frame  consists  of  an  inner  frieze  of  cherub  heads,  with  blue  wings 
and  variously  coloured  hair,  and  an  outer  frieze  of  triplex  bunches  of  fruit, 
alternately  light  and  dark,  and  rigidly  bound. 

Bibl.  : 

B.,  Kf.,  1 6,  24;  C-M.,  222  No.  101  ; Cr.,  320;  R.,  D.  R.,  204;  Nr.  FI., 
Ill,  175;  Ridia,  VII,  42tf.  ; Vas.,  II,  192. 


102 


ANDREA  DELLA  ROBBIA 


69  THE  ANNUNCIATION.  Berlin.  Kaiser-Friedrich  Museum,  No. 
ioo  (I,  149).  H.,  0.395m.;  W.,  0.49.  Photo.,  Berlin  Museum. 

This  very  charming  relief  (Fig.  72),  formerly  a predella  piece,  was 
acquired  by  the  museum  in  1888.  The  background  is  a light  blue,  the 
sloping  base  upon  which  the  angel  kneels  imitates  green  porphyry,  and  the 
bench  on  which  the  Virgin  is  seated  red  porphyry.  The  figures  themselves 


are  coloured.  S.  Gabriele  wears  a violet  tunic  beneath  white  robes  orna- 
mented with  blue.  His  hair  is  light  yellow,  his  wings  streaked  with  yellow, 
white,  violet  and  blue.  The  Virgin  also  has  yellow  hair  and  wears  a violet 
tunic  over  which  is  a blue  mantle  lined  with  yellow.  The  book  she  carries 
is  green.  The  composition  and  the  types  recall  the  Annunciation  in  the 
predella  of  the  altarpiece  at  Assisi.  Even  the  lilies  have  the  same  rose  like 
forms. 

Bibl.  : 

B.,  It.  PL,  93;  Cr.,  333;  Schottmiiller,  43  No.  100. 

70  S.  GREGORIO  AND  S.  AGOSTINO.  Berlin.  Kaiser-Friedrich- 
Museum,  No.  104  (I,  4999) -105  (I,  5000).  Medallions.  Diam.,  with 
frame,  0.76m.  Photo.,  Bardini  ; Berlin  Museum. 

These  medallions  belong  to  a series  representing  the  four  Fathers  of  the 
church,  of  which  two  are  in  the  Berlin  Museum  and  a third  in  Vienna. 
Formerly  in  the  hands  of  Bardini  of  Florence,  of  J.  Bolder  of  Munich, 


Fig.  72. — Polychromatic  Annunciation.  Berlin. 


ANDREA  DELLA  ROBBIA 


!C>3 


and  in  the  collection  of  J.  Simon  of  Berlin,  they  were  purchased  by  the 
Museum  in  1904. 

1.  S.  Gregorio  (Fig.  73),  wearing  the  papal  triple  tiara,  is  seated  on 
clouds,  inspired  by  the  Holy  Dove.  He  holds  a book  in  his  right  hand. 
His  pallium  is  adorned  with  crosses.  The  polychromatic  fruit  frame  is 


Fig.  73. — S.  Grecorio. 


Fig.  74. — S.  Agostino. 


somewhat  irregularly  composed:  six  regular  bunches  of  fruit  alternately 
dark  and  light  in  colour,  being  balanced  by  two  long  and  one  short  bunch. 

2.  S.  Agostino  (Fig.  74),  bearded,  wearing  a Bishop’s  mitre,  holding  a 
book  in  his  left  hand,  is  seated  on  clouds,  pensively  anxious.  He  recalls 
Luca’s  S.  Agostino  at  Impruneta.  The  frame  is  more  regularly  composed 
of  nine  equal  triplex  bunches  of  fruit,  separated  by  plain  ribbons  straight 
across.  The  egg  and  dart  moulding  was  evidently  executed  by  assistants. 


Bibl.  : 

Cr.,  334;  Schottmiiller,  45  Nos.  104,  105;  J.  Simon  Coll.,  Cat.,  Nos. 
27,  28;  Tsehudi,  83,  Taf.  60. 


71  S.  AMBROGIO.  Vienna.  Collection  of  Prince  Liechtenstein.  Me- 
dallion. Diam  with  frame,  0.76m.  Photo.,  Liechtenstein  Gallery.  _ 

This  medallion  (Fig.  75)  was  formerly  in  the  hands  of  Bardini  of  Flor- 
ence and  formed  part  of  a series  representing  the  Four  Fathers  of  the 
Church.  Two  of  the  series  are  in  the  Berlin  Museum. 


104 


ANDREA  DELLA  ROBBIA 


This  must  represent  either  S.  Ambrogio  or  S.  Agostino.  On  Luca’s 
bronze  doors  these  two  Fathers  were  indistinguishable.  In  these  medal- 
lions both  wear  mitres,  but  one  is  bearded  and  wears  the  piviale,  the  other 


Fig.  75. — S.  Ambrogio. 

beardless  and  is  clad  in  monastic  garb.  Probably  the  latter  is  S.  Ambrogio, 
who  is  represented  as  a beardless  monk  in  a Robbia  altarpiece  at  Empoli. 

The  frame  is  in  six  sections  separated  by  ribbons  straight  across,  each 
section  consisting  of  two  triplex  bunches  of  fruit  and  flowers.  The  mo- 
tion here  is  the  reverse  of  that  in  the  Berlin  medallions. 


ANDREA  DELLA  ROBBIA 
1490-1500 


ANDREA  DELLA  ROBBIA 


1490-1500 

72  STEMMA  OF  LORENZO  AND  FRANCESCO  DAVANZATI. 

1490.  Pistoia,  Campanile.  Photo.,  Private. 

Unframed,  in  a kite-shaped  shield,  are  the  Davanzati  arms:  Azure,  a 
lion  rampant  or  (Fig.  76).  Below,  a tabella  ansata  is  inscribed: 
LORENZO  ♦ DI  PIERO  + 

DAVANZATI  L P(ODEST)A  ♦ i486  ♦ 

E FRANCESCO  ♦ SVO  ♦ FI 
GLIOLO  L P(ODEST)  A ♦ 1490  ♦ 

Lorenzo  in  Piero  Davanzati  had  been  Prior  in  Florence  in  1461  and  1485, 
and  his  son  Francesco  in  1488. 

Bibl.  : 

C.,  s.v.  Davanzati;  M.,  R.  H.,  76-77;  Fig.  77;  P.,  267-269;  W.,  137. 

73  WOODEN  CRUCIFIX.  1491.  Florence.  Duomo  (formerly). 

The  archives  of  the  Opera  del  Duomo  show  that  on  January  24,  1491 
(O.  S.  1490)  Andrea  della  Robbia  was  commissioned  to  make  a wooden 
Crucifix  with  moveable  limbs,  and  that  he  completed  it  on  the  29th  of 
April  of  the  same  year.  On  Good  Friday,  this  miraculous  image  was  to 
be  displayed  to  the  people.  Its  present  whereabouts  is  unknown,  but  a 
similar  one  is  said  to  be  preserved  in  the  Museo  Civico  at  Treviso. 

Documents:  [Revised  by  Mr.  Rufus  G.  Mather.] 

1.  “Mcccclxxxx" 

Dea  die  xx  quarta  Januarij 

c r0ficiend^XO  Item  quod  fiat  quidam  crucifixus  ligneus  ita  congregnatus 

ut  membra  moveri  videantur  et  serviat  pro  ilium  ostendendo 
popolo  in  venere  Scò  quolibet  anno  a quicumque  foret  ex- 
peditus  in  quo  ad  plus  expendantur  f sex  largos  pro  valore — 

f 6 largos  pro  valore” 
[Archiv.  di  S.  Maria  del  Fiore,  Deliberazioni  dal  i486  al 
1491,  c.  78'.] 


io8 


ANDREA  DELLA  ROBBIA 


in  hoc  a c.  78 


pro  crucifixo 
pretium 


rzi^-ujHIEROiu/ 

i 

SCO'S  VO  Pi  \ a 
VPOtOoQfVll 


Fig.  76. — Davanzati  Stemma. 


2.  "Mcceclxxxxj 

Die  xxiii"  Aprilis  Item  quod  solvantur  Andree  Marci  dalla 
Robbia  f quinque  largos  pro  valore  pro  un  crucifixo  per 
eum  constructum  pro  ebdomeda  SR  sancta  ) vigore  Deliber- 
ationis  in  hoc  a c 78  Sub  Diem  xxiij 1 Januarij  Mcceclxxxxj* 
p.  (per  ) p.  (pagina)  n°  128-f  5"  per  la  valuta  crocifixo 

[Idem,  c.  1 o6‘ . | 

3.  “MCCCClxxxxj 

Item  Dea  Die  (xxviiij"  Aprilis)  appretiaverunt  cruci- 
fixum  constructum  per  Andream  della  Robbia  vz  extima- 

* error  in  text,  should  lie  Mcccclxxxx” 


ANDREA  DELLA  ROBBIA 


109 


tionis,  et  valoris  f quinque  largos  pro  valore,  et  ita  solvatur 
dicto  Andree  ete. — ” 

[Idem,  c.  107.] 

Bibl.  : 

Cr.,  199,  308  (Doc.),  Fabriczy,  R.  f.  K.,  XXIX 
(1906),  284-285  (Doc.);  /.  k.  p.  K.,  XXX(igog), 
Beiheft,  31  No.  94. 

74  FOUR  EVANGELISTS.  1491.  Prato.  S.  Maria  delle  Carceri. 
Vault.  Medallions.  Photos.,  Alinari,  10068-10071  ; Brogi,  12758- 
12761. 

In  S.  Giobbe,  Venice,  and  in  the  Pazzi  Chapel,  Florence,  vaulted  ceilings 
had  been  decorated  with  glazed  terra-cotta  Evangelists.  The  former  were 
half  figures  emerging  from  clouds,  the  latter  full  figures  seated  on  clouds, 
highly  polychromatic,  in  the  midst  of  a golden  radiance. 

1.  S.  Matteo  (Fig.  77).  On  a fiat  blue  disk  on  which  are  scattered 
clouds  in  relief  S.  Matteo  is  seated,  legs  crossed  and  sole  of  right  foot 
exhibited,  as  in  the  Pazzi  Chapel  medallion.  He  holds  an  open  Gospel, 
and  dips  his  pen  into  an  ink  pot  held  before  him  by  an  angel  who  also  dis- 
plays to  him  the  inspired  book.  From  the  center  of  the  relief  radiate  shafts 
of  golden  light  with  trident  extremities.  The  treatment  of  the  hair  is  more 
plastic  and  folds  of  garments  more  complicated  than  customary.  Nimbuses, 
collar  and  borders  of  mantle  decorated  with  gold. 

2.  S.  Marco  (Fig.  78).  He  is  seated  on  clouds,  looking  to  the  right 
holding  pen  and  book,  and  reading  from  the  Gospel  held  by  the  emblematic 
lion.  Lines  only,  with  no  attempt  at  lettering,  are  seen  in  the  books.  His 
nimbus,  and  borders  of  his  garment  are  gilded.  This  is  a finely  modelled, 
thoughtful  figure  of  S.  Marco,  but  the  lion  is  less  successful. 

3.  S.  Luca  (Fig.  79).  He  is  seated  on  clouds,  looking  to  the  right, 
writing  in  a book,  while  the  symbolic  ox  holds  before  him  a Gospel.  The 
clouds  are  in  relief  against  the  blue  sky;  about  him  is  a golden  radiance. 
His  mantle  is  decorated  with  gilded  borders. 

4.  S.  Giovanni  (Fig.  80).  He  is  seated  on  clouds,  looking  to  left,  writ- 
ing in  a book.  The  nimbed  eagle  holds  an  ink  pot  before  him.  The  nim- 
buses are  gilded  and  about  him  is  a golden  radiance.  The  borders  of  his 
mantle  are  decorated  with  gold. 

The  documents  show  that  Andrea  della  Robbia  bad  completed  these 
Evangelists  in  the  summer  of  1491.  Document  No.  5 indicates  that 
Andrea’s  brothers  were  also  concerned  with  this  order.  One  of  them, 
Simone,  was  a member  of  the  Arte  dei  Maestri  di  Pietra  e Legname. 


\ 


Fig.  77.' — S.  Matteo. 


Fig.  78. — S.  Marco. 


Fig.  79. — S.  Luca. 


Fig.  80. — S.  Giovanni. 


ANDREA  DELLA  ROBBIA 


in 


Documents:  [Copied  by  Mr.  Rufus  G.  Mather.] 

1. 

a Messer  brano  di  lionardo  spedalincho  konto  della  muraglia 
dare  adi  12  di  magio  1 sessanta  cinque  ebe  per  noi  da 
messer  girolamo  spedalincho  della  misericordia  di  prato  per 
stanzamento  degli  operaj  di  questa  opera  1 65  s — 

alibro  98 

a Andrea  di  marcho  dalla  robia  da  firenze  dare  adi 

13  di  magio  1 sessanta  cinque  per  me  da  messer  brano 
spedalincho  e konto  di  questa  opera  et  per  mia  poliza  1 65  s — 

alibro  108” 

[Archivio  di  Patrim.,  Prato.  Opera  di  S.  Maria  delle  Carceri,  Giornale 
della  Muraglia,  segnato  F.  VII,  32,  c.  17k] 

2. 

‘ + 1491  adi  22  di  giugno 

a Andrea  di  marcho  dalla  robbia  da  firenze  de  dare 
adi  22  di  giugno  1 tredicj  per  noi  da  messer  brano 
spedalincho  e konto  della  muraglia  di  questa  chasa  e 
per  mia  poliza  1 13  s — 

alibro  108 

a Messer  brano  di  lionardo  spedalincho  e konto  di  muraglia 
di  questa  chasa  avere  detto  di  1 13  pacho  per  noi  a 
andrea  di  marcho  dalla  robia  e per  mia  poliza  — - 1 13  s — 

alibro  98 

a Jacopo  di  Stefano  di  guasparj  vetturale  de  davere 

adi  22  di  giugno  1 4 s 4 sono  per  vettura  di  some  4 libbre- 
da  firenze  con  e quatro  vangelisti  per  lopera  1 4 s 4 

e de  avere  detto  di  per  chabella  pacho  Indochana  1 tre  dj  4 
et  per  paglia  per  le  some  s quatro  In  tutto  e per  la  prestanza 
delle  ceste  1 3 s 4 - 4 

alibro  no”  7 .8. 4 

[Idem,  c.  19.] 

3- 

“+I49I 

a Jacopo  di  Stefano  di  guasparj  vetturale  de  dare  adi 
primo  di  luglio  1 sette  s otto  dj  quatro  et  per  noi  da 
messer  brano  di  lionardo  spedalincho  per  konto  della 
muraglia  di  questa  chasa  e per  mia  poliza  — 1 7 s 8 . 4 

alibro  no” 

[Idem,  c.  20.] 


I 12 


ANDREA  DELLA  ROBBIA 


4- 

“ — 1 49 1 adi  13  doehosto 

Andrea  di  marcho  dalla  robbia  da  firenze  de  avere  per  Insino 
a questo  di  20  doehosto  f trentadua  doro  Inoro  sono  per  quatro 
vangelisti  si  ebbero  daluj  pelopera  dachordo  chonesso  luj  sono 
1 cento  novantacinque  1 195 

questa  partita  la  fo  morire  qui  perche  sono  f 32  doro 
quegli  chesse  fatto  el  marchato  chonesso  luj  chome  si  vede 
In  questo  karta  26 

Andrea  di  marcho  dalla  robbia  a dare  adi  20  doehosto 
f.  dodici  doro  Inoro  sono  1 settantaotto  e per  me  da 
messer  brano  e per  mia  poliza  e quali  sono  per  ogni  suo 
resto  di  quatro  vangelisti  avuti  da  luj  1 78  s 

alibro  108” 

[Idem,  c.  25.] 

5- 

“4-1491  adi  20  doehosto 

Andrea  di  Marcho  dalla  robbia  e fratellj  da  firenze 
deono  avere  per  Insino  a questo  di  20  doehosto  f.  trentadua 
doro  Inoro  larghi  sono  1 dugentotto  e qualj  danari  sono  pella 
monta  de  4 vangelisti  si  sono  autj  dalloro  per  lopera  e qualj 
a fatto  pregio  andrea  prop(  r ) io  chon  mia  opera j e di  chonsentimento 
delluno  e dellatro  o fatta  da  prima  scrittura 

perche  dissono  esser  dachordo  In  tutto  — 1 208 

alibro  108" 

[Idem,  c.  26*.] 

6. 

“-(-1491  adi  26  dottobre 

Andrea  di  Marcho  dalla  robia  de  dare  adi  detto  1 trentanove 
sono  per  parte  del  fregio  che  luj  fa  Intorno  alla  chiesa  di  terra 
cotta  e qualj  porto  bart“  di  simone  di  bart°  a firenze  1 39  s 

alibro  108” 

[Idem,  c.  32. ] 

7- 

‘1491  adi  3 di  novenbre 

Andrea  di  Marcho  dalla  robia  a dare  adi  8 di  novenbre 
1 venti  sei  e per  noi  ebe  da  messer  brano  di  lionardo  spedalincho 
della  misericordia  (?)  e per  mia  poliza  1 26  s 

alibro  108“ 

[Idem,  c.  32k] 


ANDREA  DELLA  ROBBIA 


1 13 


8. 

“Adi  26  di  Marzo  149 2 

M°  Andrea  di  marcho  dellarobia  de  dare  adi  ult°  di  marzo 
f.  dieci  larghi  doro  ebbe  da  brano  per  mia  poliza  1 65  - s — 

posto  alibro  b 121  a brano  S4 

[Idem,  c.  39.] 

9- 

“Adi  14  daprile  1492 

M°  Andrea  di  marcho  dellarobia  de  dare  adi  14  daprile(?)  [badly 
written]  f.  tredici  larghi  doro  inoro  ebe  dalospedale  della  miseri- 
cordia per  poliza  deglioperaj  per  parte  del  fregio  f x 1 2 f tre 
larghi  in  oro  per  mordente  e oro 

posto  alibro  b 12 1"  1 84  s io 

[Idem,  c.  41.] 

Bibl.  : 

B.  J.,  61;  B.,  Kf.,  16,  24;  Dcnk.,  85,  Taf.  267;  Buri.,  69,  1 1 6 ; C-M., 
104-106,  246  No.  253;  Cr.,  184-186,  326;  Verrocchio , 165;  D.  D., 
32;  Giglioli,  a Prato,  55-58  (Doc.)  ; Guasti,  Caffagiolo,  157-158;  M.. 
R.  H.,  90;  Passerini,  231;  R.,  D.  R.,  186-187;  Se.  FI.,  Ili,  167;  S., 
1 1 9,  Abb.  130;  Yas.,  II,  181  note. 

75  CANDELABRA  AND  GARLANDS,  ARMS  OF  PRATO.  1492. 
Prato.  S.  Maria  delle  Carceri.  Frieze.  H.,  0.80m.  Photos.,  Alinari, 
10063  - Brogi,  12756. 


The  documents  show  that  Andrea  della  Robbia  was  paid  for  this  frieze 


Fig.  81. — Candelaisra  and  Garland  Frieze. 


■ •" 
* V 


IH 


ANDREA  DELLA  ROBBIA 


(Fig.  81)  in  1491-1492.  Whether  the  designing  of  it  was  entirely  in  his 
hands  or  controlled  by  the  architect  Giuliano  di  San  Gallo  is  more  difficult 
to  determine.  A somewhat  similar  frieze  decorates  the  church  of  S.  Rocco 
in  Rome.  Candelabra  more  or  less  like  these  had  been  used  by  Antonio 
Rossellino,  Benedetto  da  Maiano  and  others  ; and  hanging  garlands  were 
common  enough  in  Tuscan  sculptures.  On  the  other  hand  this  very  design 
is  found  again  in  Robbia  ware  at  Brancoli  and  all  the  elements  of  it,  gar- 
lands of  fruit,  fluted  ribbons,  candelabra,  abound  in  the  work  of  Andrea 
della  Robbia.  At  intervals,  above  the  pilasters,  are  wreaths  of  fruit,  com- 


posed in  accordance  with  Andrea’s  methods,  containing  shields  of  floriated 
Tuscan  form,  with  the  arms  of  Prato:  Azure  semé  of  fleurs-de-lys  or 
(Fig.  82). 

Documents:  [See  Documents  6-9  of  the  preceding.] 


Same  as  the  preceding. 

76  THE  FOUR  EVANGELISTS.  Naples.  Monteoliveto.  Cappella 
S.  Anna  dei  Lombardi.  Medallions,  c.  80m.  diam.  Photo.,  Private. 

Set  in  frames  consisting  of  a simple  but  well  modelled  egg  and  dart 
moulding  are  medallions  of  the  four  Evangelists,  white  on  blue. 

1.  S.  Matteo  (Fig.  83)  holds  a pen  in  right  hand,  ink  stand  in  left.  To 
the  left,  an  angel  appears  holding  an  open  book. 

2.  S.  Marco  holds  a pen  in  right  hand,  a book  in  left.  To  the  right  is 
a winged  lion  holding  an  inkstand. 


Fig.  82. — Prato  Stemma. 


Bibl.  : 


ANDREA  DELLA  ROBBIA 


1 15 

3.  S.  Luca  holds  a pen  in  right  hand,  a book  in  left.  To  the  right  is 
a winged  ox  holding  nothing. 

4.  S.  Giovanni  turns  over  the  pages  of  a book.  To  the  right  is  an  eagle, 
no  inkstand.  The  blue  background  somewhat  spotty. 


Fig.  83. — S.  Matteo,  Naples. 


77  ANNUNCIATION.  Florence.  Ospedale  di  S.  Maria  degli  Inno- 
centi. Cappella.  Lunette.  H.,  1.54m.  ; W.,  2.85m.  Photos.,  Alinari, 
3180;  Brogi,  4696.  Casts,  Cantagalli,  340  (detail);  Belli,  406. 

From  the  Cappella  de’Pugliesi,  where  it  once  stood  above  an  altarpiece 
by  Piero  di  Cosimo,  this  lunette  (Fig.  84)  was  removed  to  the  position  it 
now  occupies  above  the  door  leading  from  the  courtyard  to  the  chapel  of 
the  Hospital. 

It  may  be  classed  with  the  Evangelists  of  S.  Maria  delle  Carceri  in  point 
of  style,  in  view  of  the  highly  plastic  treatment  of  hair  and  the  crumpled 
drapery.  The  angel,  kneeling,  pointing,  bearing  the  symbolic  lilies  recalls 
the  S.  Michele  at  Braunschweig.  The  covert  or  upper  bank  of  feathers  are 
treated  in  almost  identical  fashion  in  both  reliefs.  However,  the  Innocenti 
archangel  is  more  mannered  and  his  eyes  with  their  yellow  irises  more  in 
accord  with  Andrea's  later  usage.  The  vase  with  its  full  body  and  snake 
handles,  recurs  in  the  works  of  Andrea's  followers.  The  base  of  the  prie- 
dieu  is  ornamented  with  cherub  head  and  garland  against  a brown  back- 
ground and  the  support  for  the  book  is  ornamented  with  griffin  legs.  The 
book  contains  not  mere  lines  as  in  the  vault  at  Prato,  but  letters  and  abbre- 


1 1 6 ANDREA  DELLA  ROBBIA 

viations  which  suggest,  if  they  do  not  indicate  the  words  of  the  salutation, 
Ave,  gratia  plena,  . . Ne  timeas,  Maria,  . . Ecce,  concipies  etc.  (Luke,  I, 

28-33)- 

As  in  the  Prato  Cathedral  lunette  the  Madonna’s  head  is  of  a rounded 
type  and  locks  of  hair  fall  from  behind  her  kerchief.  The  ground  upon 


Fig.  84. — The  Innocenti  Annunciation. 

which  the  figures  are  kneeling  is  of  a sea-green  colour.  Above  is  the  blue 
sky,  clouds  in  relief,  God  the  Lather  in  a glory  of  cherubs,  and  the  Holy 
Dove. 

An  Annunciation  of  this  type,  in  which  both  figures  are  kneeling,  occurs 
again  in  the  lunette  of  the  altarpiece  at  S.  Chiara,  Borgo  San  Sepolcro,  and 
in  various  works  by  Andrea’s  followers. 

Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

“Spedale  degli  Innocenti,  La  Chiesa. 

All’  entrare  a man  ritta  in  cappella  ornata  di  colonne et  addirim- 

petto  una  simile  cappella  del  Pugliese  dipinse  la  vergine  con  molti  santi 
atorno  Pier  di  Cosimo  arrichita  di  teste  di  cherubini  di  terra  invetriata  di 
Luca  della  Robbia  con  la  Verg.c  annunziata” 

[Lerdinando  del  Migliore,  Chiese  Fiorentine,  Tomo  I,  Cod.  carta  See. 
NATI  Segnato  Magliab.  II,  I No.  316.] 

Bibl.  : 

B.  J.,  64;  B.,  Kf.,  16,  24;  Denk.,  85-86,  Taf.  265;  IV.  D.  R.,  8,  Taf. 
42;  Bruni,  I,  11;  Buri.,  55-56,  108;  Car.,  III.  Fior.,  1912,  33;  C-M., 


ANDREA  DELLA  ROBBIA 


ii  7 

93,  1 00-102,  209  No.  20;  Cr.,  186,  326;  Fov.,  100;  Nagler,  XIII,  226; 
R.,  D.  R.,  184-186;  Se.  FI,  III,  166-167;  Richa,  Vili,  129;  S.,  113, 
Abb.  128;  Vas.,  II,  180,  Note  2 ; Z.  f.  b.  K.,  XX  (1885),  20. 

78  STEMMA  OF  GIOVANNI  DI  GALEZZO  TROTTI.  1492.  Flor- 
ence, Museo  Nazionale,  Cortile.  Photo.,  Alinari,  2985. 

Within  a wreath  of  ten  bunches  of  fruit  of  triplex  composition,  separated 
by  plain  transverse  ribbons,  and  with  motion  like  that  of  the  hands  of  a 
clock,  is  set  a flat  blue  plate  on  which  is  a tournament  shield  (Fig.  85) 


Fig.  85. — The  Trotti  Stemma. 


displaying  the  Trotti  arms:  Per  fess  or  and  azure.  Above  this  is  a helmet 
with  foliated  mantlings  vert  and  argent  drawn  through  a chaplet  and  held 
in  a lion  s mouth.  Groups  of  Medici  rings  appear  in  the  field  above  and 
below.  In  chief  is  the  name  IO(HANNES)  G(  ALE  AT  VS) 


1 1 8 


ANDREA  DELLA  ROBBIA 


Below,  a winged  cherub  with  wing  locks  unfolds  a tablet  inscribed  : 
INSIG(N)IA  ♦ PREST( ANTISSIMI)  • D(OMINI)  ■ IO(HANNI)  • 
GALE  ATI  • TROTTI  • 

ALENA (N)DRINL  IVR(IS)CO(N)SVLTI ■ EQVITIS  • ET-  CO- 
MIT(IS)  ■ 

AC  M ( EDIO  ) LANE  (N)  SIS-  DVCALIS  • PARICII  • PRETORIS- 
FLORENTINI  ■ 

ANNO  VITE-  ET-  MORTIS-  MAG(NIFICI)  • LAVRE(N)TII  • 
MEDICE(I)  • 43. 

Gian  Galeazzo  Trotto,  named  from  Gian  Galeazzo  Visconti,  was  a de- 
scendant of  Emanuele  Trotti,  one  of  the  founders  of  Alexandria  in  Pied- 
mont. The  method  of  dating  is  interesting.  Lorenzo  de’  Medici  was  born 
in  1449;  hence  the  forty-third  year  of  his  life,  the  year  also  of  his  death, 
would  fall  in  1492. 

Bibl.  : 

C,  s.v.  Trotti;  Cr.,  340;  M.,  R.  H.,  93-94,  Fig.  94. 

79  MADONNA  AND  CHILD  AND  SAINTS.  Florence.  S.  Croce, 
Cappella  Medici.  Altarpiece.  H.,  2.20m.;  W.,  2.10m.  Photo., 
Alinari,  2165;  Brogi,  3620.  Casts,  Cantagalli  462 (detail),  492 (de- 
tail), 294(detail)  ; Lelli,  378,  363-365 (details). 

The  Madonna,  in  full  length  is  seated  on  clouds  from  which  emerge 
cherub  heads.  She  holds  to  right  the  partially  draped  Child  who  carries  a 
bird  and  is  blessing  (Fig.  86).  Above  are  two  charming  angels,  who  are 
setting  a jeweled  crown  upon  the  Madonna’s  head.  To  the  left  and  right 
are  six  saints  standing  on  the  ground,  in  size  smaller  than  the  Madonna. 
They  are  S.  Antonio  of  Padua  with  book  and  flame,  a female  saint  (S. 
Elisabetta?  Rosa?  Dorotea?)  with  roses,  S.  Giovanni  in  hair  cloth,  point- 
ing to  the  sacred  Child  and  holding  a cross  and  a scroll  inscribed  ECCE 
AGNVS  DEI,  S.  Lorenzo  with  green  martyr’s  palm  and  gridiron,  S.  Lodo- 
vico,  and  S.  Francesco  with  book  and  cross.  The  eyes  have  Andrea’s 
characteristic  blue  brows  and  lashes,  dark,  copper  coloured  pupils  and  yel- 
lowish irises. 

The  frame  shows  signs  of  injury  and  of  having  been  at  some  time 
stupidly  erected.  We  might  have  expected  for  so  beautiful  a relief  a frame 
comparable  to  those  of  the  altarpieces  at  La  V erna,  instead  of  which  we 
find  pilasters  of  a type  common  in  Andrea’s  atelier  at  a somewhat  later 
period.  The  architrave  of  the  entablature  is  set  as  a base  moulding  of  the 
predella,  and  the  plain  predella  moulding  put  in  its  place.  Fortunately, 
however  the  frieze  of  seven  cherub  heads  and  the  cornice  remain  intact. 


ANDREA  DELLA  ROBBIA 


119 


Fig.  86. — Madonna  and  Saints.  S.  Croce. 


The  predella  is  inscribed  : OVESTA  F OP(ER)  A F>  A FACTA  F FARE  F 
LA  CONPAGNIA  F DI  CASTEL  SA(N)  GIOVANNI  F PE(R) 
L’ANIMA  F DE(I)  BENEFATORI  ♦ E OPERATORI  F DI  DETTA  F 
CONPANGNIA 

Bibl.  : 

B.  J.,  66-67;  B.,  Kf.,  23;  Denk.,  87;  Buri,,  57-58,  107;  C-M.,  206 
No.  7;  Cr.,  173-174;  325;  Fov.,  108;  R.,  D.  R.,  171-172;  Se.  FI. , III, 
160;  S.,  10F  Abb.  105;  Vas.,  Ili,  218. 

(-T  , trailo  t ri  V ‘ì, 

80  CHERLTB  FRIEZE.  1494.  Florence.  S.  Frediano,  Cappella  della 
Compagnia  di  S.  Frediano. 

In  the  church  of  S.  Frediano,  the  Cappella  della  Compagnia  di  S.  Fredi- 
ano, founded  c.  1490,  was  decorated  with  a frieze  of  cherub  heads  with 


120 


ANDREA  DELLA  ROBBIA 


other  objects  (cherubini  e chosi).  We  recall  in  this  connection  the  un- 
glazed  cherub  frieze  of  cherub  heads  and  paschal  lambs  in  the  interior  of 
the  Pazzi  Chapel,  and  the  glazed  frieze  of  cherub  heads,  lambs  and  Sacred 
Names  on  the  exterior  of  the  Cappella  Maggiore  di  S.  Chiara,  now  in  the 
Victoria  and  Albert  Museum.  The  S.  Frediano  frieze  was  glazed.  Pay- 
ments for  the  frieze  began  in  1494  and  1495;  and  were  continued,  or  re- 
peated, in  the  autumn  of  1502.  The  individual  members  of  the  Robbia 
family  appear  to  be  indistinctly  known  to  the  Operai,  for  their  indebted- 
ness is  recorded  first  to  “Luca  della  Robbia,”  who  died  in  1482,  and  later 
to  his  successor,  here  recorded  as  Andrea  di  Lucha  (sic)  della  Robbia.  The 
Luca  della  Robbia  first  mentioned  may,  however,  have  been  Luca  di  Andrea. 

The  payment  for  the  frieze  appear  to  have  been  in  units  of  11  lire  and 
to  have  totalled  44  lire,  from  which  we  gather  that  the  chapel  was  square  in 
form  and  that  the  frieze  was  continued  on  all  four  sides.  It  was  probably 
vaulted,  for  in  1518-1520  we  find  a Robbia  lunette  placed  “sotto  l’arco 
della  cappella.” 


Documents’  [Copied  by  Mr.  •Rufus  G.  Mather.] 
1.  “ + MCCCCLXXXXIIJ  + 

Operaj  della  chapella  cleono  avere  adi  21  daprile 
1494  1 182  s 19  per  tantti  pagliati  a chabriello 
scharpellino  al  ponte  a santa  trinità  In  8 partite 
come  apare  alibro  deglioperaj  tenuto  per  Stefano 
bonssj  in  questo  a c 116 

E cleono  avere  a detto  libro  a c 1 1 7 1 33  paghate 
allucha  della  Robia  per  un  fregio  per  detta  chapella 
E cleono  avere  a detto  libro  acSili  s 12  sono 
per  detto  libro  si  chonpero  dant°  chartolaio 


1 182  s 19  d- 
1 33  s-  d- 
1 1 s 12  d- 


217.11” 

[Archivio  eli  Stato.  Compagnia  di  San  Frediano,  Libro  Debitori  e 
Creditori  anni  1467  al  15 22,  segnato  n°  112,  c.  Lxxxvij.] 


O 


“E  deon  dare  adi  24  daprile  1495  fi  5 Inoro 

larghi  et  per  fioro  a frane0  da  bruscanese  e 

sono  per  dare  andrea  della  robia  per  un 

freg( i)o  ci  fa  per  detta  chapella  come  apare 

alibro  deglioperaj  a c 81  suddetti  operaj  abino 

avere  a detto  libro  a c 50  e dettj  danarj 

porto  frane”  da  bruscanese  detto  diliscienza  (di  licenza)  di 

Stefano  bonssj  proveditore  di  dettj  operai 

a uscita  a c 79”  L 33  - d- 

[Idem,  idem.] 


ANDREA  DELLA  ROBBIA 


1 2 1 


3.  “+  Mdj 

Chapela  murata  di  nuovo  nela 

chiesa  di  sanfriano  ad  dirinpetto 

di  quela  muro  lorenzo  fornaio  de 

dare  adi  27  daprile  1502  etc 1 7 


E de  dare  1 33  a lucha  delarobia  per 
parte  de  cherubini  per  detta  chapella 
in  questo  a c 87  nel  chonto  de  opera 
autj  da  lucha  delarobia  dare  (in) 
questo  a c 113  davere  in  soma  di  1 44 
E de  dare  1-  s vij  per  3 fasti  ( freghi  ) di 
cherubini  e chosj  da  lucha  delarobia 
per  la  Chiesa  di  san  friano  pachatj 
bartolomeo  dant0  vaiaio  k'1  (kamerario) 
c 8 a sua  uscita 

E de  dare  1 undicj  picciolj  per  tanti 
fatti  buoni  andrea  di  lucha  (sic)  della 
Robbja  posto  avere  in  questo  a c 113 
in  soma  di  1 44  sono  per  resto  dettj 
charubinj  autj  dalloro  per  detta  capella 
[Idem,  c.  1 12.] 

“c  113 

4.  “+  Mdj 

Andrea  di  lucha  delarobia  de  dare 
1 7 autj  da  bartolomeo  dant0  vaiaio 
k°  a c 8 portaglieli  salvestro  di 
ser  Ichopo  adi  31  di  marzo  1502 
per  parte  de  cherubini  di  tera  chota 
per  la  nuova  capela  a uscita  1 7 s- 
E de  dare  1 33  autj  piu  tempo  fa 
chome  apare  in  questo  a c 87  a 
chonto  di  nostra  chapela 
delopera  posto  chapela  (in)  questo 
a c 113  debitori  per  parte  del 
freg(i)o  de  cherubini  1 33  s— 

E de  dare  adi  15  di  settèbre  1502 
1 iiij  picciol.  sono  per  e serafini  per  la 
chapela  di  sanfriano  e peresto 
di  tutti  e detti  serafini  e fregio 
di  detta  chapela  soprascrita 


1 33 


1 - s 7 


I I I s - 

Mdj 

Andrea  di  lucha  delarobia  de  avere 
1 quaranta  quattro  picciolj  sono  per 
ttuttj  i fregi  di  cherubini  di  tera  chottj 
Invetriati  autj  dalluj  per  fornire  la 
chapella  di  san  friano  dela  nostra 
conp(agnia)  nella  chiesa  di  sanfriano 

[fatta 

per  gii  uomjnj  di  detta  chonp(agnia) 

[posta 

in  detta  chiesa  di  Rimpetto  alla 
chapella  di  salorenzo  in  detta  chiesa 
posto  detta  chapella  dare  in  questo 
a c 112  in  2 partite  una  di  1 33  e 
una  dilli  1 44  s— ” 


122 


ANDREA  DELLA  ROBBIA 


di  agnolo  berragli  nostro 

fratello  1 4 s-  d— 

1 44  o o” 

[Idem,  c.  1 1 3. ] 

Bibl.  : 

B.,  D.  R.,  150;  Se.  FI,  III,  147;  Ridia,  IX,  177;  Yas.,  II,  180-181 
note. 

81  S.  ANTONIO  BETWEEN  TWO  ANGELS.  Prato.  S.  Antonio 
Abate.  Lunette.  H.,  0.97m.;  W.,  1.90m.  Photo.,  Alinari,  10077. 

S.  Antonio,  with  hnely  modelled  head  and  hands,  carries  a book  and  a 
crutch  (Fig.  87).  He  is  robed  in  monastic  (Camaldolesce)  cowl  and  gown. 
The  border  of  the  latter  was  ornamented  with  a series  of  tail  crosses,  or 


Fig.  87. — S.  Antonio  between  two  Angels. 

T’s,  emblem  of  the  order  of  the  Ospitalieri. — The  adoring  angels  approxi- 
mate those  at  S.  Maria  della  Quercia,  Viterbo.  In  execution  it  is  liner 
than  the  lunette  of  S.  Zanobi  in  the  Opera  del  Duomo. 

The  frame,  with  its  bunches  of  fruit  and  flowers  bound  into  pendent 
garlands  by  narrow  crossing  ribbons,  is  fashioned  according  to  Andrea's 
methods. 

Bibl.  : 

Burl.,  1 16;  C-M.,  245  No.  247;  Corradini,  50;  Cr.,  227,  330. 


ANDREA  DELLA  ROBBIA 


I23 

82  (i).  GARLAND.  (2).  LUNETTE  OL  S.  ANTONINO.  Prato 

(near).  Via  del  Lerro. 

Not  found.  Recorded  by  Miss  Cruttwell.  Possibly  confused  with  the 
lunette  of  S.  Antonio  Abate,  which  in  Alinari’s  catalogue  is  designated  as 
S.  Antonio  del  Ferro. 

Bibl.  : 

Cr.,  352. 

83,  84  HISTORICAL  RELIEF,  A PIETÀ,  S.  GIOVANNI  BAT- 
TISTA, S.  SEBASTIANO,  AND  OTHER  DECORATIONS. 
Montevarchi.  Collegiata  di  S.  Lorenzo,  Cappella  della  Fraternità. 
Photos.,  Alinari,  10387-10394. 

The  Collegiata  at  Montevarchi  cherishes  as  a sacred  relic  a drop  of  the 
Virgin’s  milk  supposed  to  have  fallen  from  the  lips  of  the  Child  and  to  have 
been  miraculously  crystallized  during  the  Flight  into  Egypt.  This  was 


Fig.  88. — Historical  Relief.  Montevarchi. 

presented  by  Conte  Guido  Guerra  who  received  it  from  Charles  of  Anjou, 
to  whose  brother  Louis  it  was  presented  by  the  Emperor  of  Constantinople. 
This  presentation  was  commemorated  by  a relief  on  the  faqade  of  the 
church  and  by  a chapel  in  the  interior. 

1.  The  Historical  Relief.  (Alinari,  10387-10389) . 

Formerly  on  the  exterior  of  the  church  was  a balcony,  from  which  the 
sacred  relic  was  displayed.  This  balcony  was  decorated  on  the  front  by  a 
relief  on  which  is  depicted  Conte  Guido,  in  armour  on  his  knees  present- 
ing the  relic  to  the  Ecclesiastical  representatives  of  the  church  (Fig.  88). 
Behind  him  may  be  recognized  from  his  mantle  decorated  with  fleurs-de- 


124 


ANDREA  DELLA  ROBBIA 


lys,  Charles  of  Anjou,  accompanied  by  a host  of  attendants.  On  the  other 
side  is  an  ecclesiastic,  also  on  his  knees,  attended  by  clerics  and  civilians. 
White  figures,  yellow  details,  standing  on  greenish  gray  ground. 

2.  The  Stemmi  (Alinari,  10390). 

The  sides  of  the  balcony  were  decorated  with  coats  of  arms  (Fig.  89) 
of  the  Guerra  family,  on  oval  shields  upheld  by  winged  putti  : Gules,  a 
points  enclosing  three  lilies  or.  These  reliefs  are  now  inside  the  church  in 


Fig.  89. — The  Guerra  Stemma. 

a chapel  devoted  to  the  preservation  of  the  relic  and  known  as  the  Cappella 
della  Fraternità. 

Von  Rumohr  states  that  the  entire  fagade  of  the  church  not  long  before 
his  day  was  decorated  with  glazed  terra-cotta.  This  is  probably  an  over- 
statement. 

3.  The  Chapel  Pavement. 

Some  hexagonal  tiles  from  the  pavement  still  remain.  They  show  the 
pattern  which  Andrea  used  for  pavements  at  Empoli,  S.  Gimignano,  and 
S.  Fiora,  and  which  Giovanni  also  used  as  backgrounds  for  reliefs.  Border 
tiles  with  fringe  also  survive. 


ANDREA  DELLA  ROBBIA 


I 2- 


4.  The  Ceiling. 

Twelve  of  the  coffered  ceiling  panels  remain,  showing  square  panels  with 
white  rosettes  on  blue  ground,  framed  by  rectangular  panels  decorated  with 
triplex  bunches  of  fruit,  white  on  blue,  and  at  the  angles  square  panels,  in 
each  a ball,  white  on  blue,  not  unlike  the  coffering  of  the  vault  at  Pistoia. 

5.  The  Wall-frieze  (Alinari,  10394). 

At  the  top  of  the  wall  ran  a frieze  of  cherub  heads,  of  which  thirty-four 
still  remain  (Fig.  90).  White  on  blue. 

The  Altarpiece. 

Cavallucci  and  Molinier  declare  that  the  altarpiece  once  consisted  of  a 
central  niche  containing  a Madonna  suckling  the  Child,  flanked  by  two 


Fig.  90. — Cherubs. 


niches  containing  figures  of  S.  Giovanni  Battista  and  S.  Sebastiano.  The 
central  niche,  if  it  ever  existed,  has  now  disappeared,  but  there  still  remain 
a lunette  with  a Pietà,  the  two  niches  with  Saints,  and  a long  panel  of 
angels  adoring  the  secred  relic.  The  dimensions  and  the  frames  do  not 
readily  admit  of  associating  these  reliefs  into  a single  altarpiece. 

6.  The  Lunette  with  the  Pietà  (Alinari,  10398).  H.,  0.74m.;  W.,  1.36m. 


Fig.  91. — Pietà. 


1 his  relief  represents  Christ  with  eyes  closed  rising  from  the  tomb,  up- 
held by  his  Mother  and  the  Beloved  Disciple  (Fig.  91).  They  perform 
an  act  of  religious  devotion  rather  than  of  physical  assistance.  This  re- 
lief is  more  beautiful  than  the  marble  Pietà  at  Arezzo,  more  expressive  of 


1 26 


ANDREA  DELLA  ROBBIA 


religious  feeling  than  the  Christ  in  the  Piazza  di  S.  Spirito,  Florence.  It 
deserves  to  be  more  widely  recognized  as  one  of  Andrea’s  masterpieces. 

7.  S.  Giovanni  Battista  (Alinari,  10392).  H.,  1.80m.;  W.,  0.84m. 

Wearing  hair  cloth  and  mantle,  S.  Giovanni  Battista  points  with  his  in- 
dex finger  and  carries  a cross  and  a scroll  inscribed  ECCE  AGNVS  DEI 
TOLLIS(sic)  PECCA(TA)  (Fig.  92).  The  frame  with  its  triplex 


Fig.  93. — S.  Sebastiano. 


Fig.  92. — S.  Giovanni  Battista. 

bunches  of  fruit  rising  from  blue  and  violet  vases  and  its  cherub  frieze 
seems  complete  in  itself.  Arranged  as  at  present  where  the  Baptist  is 
pointing  toward  the  entombed  Christ  it  is  surely  quite  as  appropriate  as 
if  placed  alongside  of  a Madonna  suckling  the  Child. 

8.  S.  Sebastiano  (Alinari,  10391).  H.,  1.80m.  ; W.,  0.84m. 

A sympathetic  and  restrained  study  of  S.  Sebastiano  (Fig.  93),  more 
charming  than  the  figures  of  the  Saint  at  Arezzo,  and  Montalcino.  The 
frame  is  a counterpart  to  that  of  S.  Giovanni  Battista. 

9.  Angels  adoring  the  Sacred  Relic  (Alinari,  10394).  H.,  0.60m.;  W.,  2. 
This  motive  of  angels  adoring  a relic  (Fig.  94)  Andrea  learned  from 

his  uncle  Luca.  He  employed  it  in  the  predella  of  the  Cintola  altarpiece 
at  La  Verna  and  most  appropriately  here. 


ANDREA  DELLA  ROBBIA 


127 


Fig.  94. — Angels  Adoring  Relic. 


Bibl.  : 

C-M.,  240  No.  219;  Cr.,  221-222,  330,  349;  Foratti,  Rass  d’Arte, 
NIX (1919),  30-31;  M.,  Br.,  1902,  ss;  L.  D.  R.,  92,  Fig.  53;  R.  H., 
107,  Fig.  106;  von  Rumohr,  II,  296  note;  S.,  143,  Abb.  158. 

85  PUTTI  SUPPORTING  GARLANDS.  Città  di  Castello,  Pinaco- 
teca, Nos.  28,  30.  Statuettes,  PI.,  0.92m.  Photos.,  Alinari,  4868-4869. 

These  putti  (Figs.  95-96),  according  to  a Ms.  by  Certini  in  the  archives 
of  the  Canonica,  once  adorned  a lavabo  in  the  sacristy  of  S.  Giovanni. 
Possibly  the  garland  served  as  a frame  for  the  lavabo,  set  beneath  the 
medallion  of  the  Madonna  which  is  now  placed  between  the  putti  in  the 
Pinacoteca.  This  scheme  is  followed  in  the  lavabo  at  S.  Ansano,  near 
Fiesole.  At  S.  Ansano  the  putti  do  not  carry  the  garland  naturally  and 
stand  on  nothing.  Their  designer  had  probably  in  mind  Giovanni's  gar- 
land-bearing putti  on  the  cornice  of  the  lavabo  at  S.  Maria  Novella.  IPere, 
however,  they  stand  on  yellow  scrolls.  This  would  seem  to  imply  a niche, 
somewhat  like  that  in  which  stands  a figure  of  S.  Domenico,  No.  68  in 
the  Museo  Nazionale.  A similar  niche  may  be  assumed  for  the  garland 
bearing  putto  in  the  Liechtenstein  collection  in  Vienna.  The  analogues  to 
these  figures  are  to  be  found  in  the  putti  bearing  stemmi  at  Montevarchi. 

Bibl.  : 

B.,  Denk.,  86,  Taf.  265;  Certini,  Ms.  quoted  by  Graziani;  Cr.,  336; 
Graziani,  152-153,  pi.  20;  Guardabassi,  51;  Melani,  A.  I.  D.  I.,  VII 
(1898),  Tav.  2;  V.,  VI.,  594,  Figs.  402-403. 

86  PUTTO  BEARING  A GARLAND.  Vienna.  Prince  Liechtenstein 
Collection.  Photo.,  Bardini. 


This  putto  stands  on  a yellow  spiral  and  carries  a polychromatic  fruit 


128 


ANDREA  DELLA  ROBBIA 


Fig.  95. — Putto  and  Garland. 


Fig.  96. — Putto  and  Garland. 


garland.  It  formerly  stood  to  the  left  of  a lunette  of  a niche  or  tabernacle, 
possibly  a lavabo. 

87  MADONNA  WITH  NUDE,  STANDING  CHILD.  Florence, 
Piazza  dell’Unità.  Medallion.  Photo.,  Alinari,  173 15. 

T his  Madonna  ( Fig.  97),  now  placed  in  a niche,  was  formerly  a medal- 
lion as  may  be  seen  from  the  circular  blue  background.  The  composition 
may  be  associated  with  the  early  Madonnas  in  which  the  Child  stands  in 


ANDREA  DELLA  ROBBIA 


129 


his  mother’s  lap,  and  even  more  closely  with  the  type  which  Dr.  Bode  has 
called  the  Madonna  of  the  Balustrade.  As  in  the  Opera  del  Duomo  lunette 
of  1489  the  Child  stands  in  front  of  his  mother  on  a support  over  which 
her  mantle  is  thrown.  The  introduction  of  drapery  to  the  left  seems  to 


Fig.  97. — Piazza  dell’  Unità  Madonna. 


have  been  determined  by  the  medallion  form.  This  Madonna,  although 
not  well  known  from  publication,  appears  to  have  been  very  popular  and 
was  reproduced  several  times.  Her  tunic  has  a decorated  neck  band  and 
her  mantle  is  held  together  by  a cord  and  two  buttons. 

Bibl.  : 

M.,  D.  R.  A.,  46,  Fig.  20. 

88  PORTRAITS  AND  SAINTS.  1498.  Florence.  Ospedale  di  S. 
Paolo.  Loggia.  Medallions.  Diam.,  im.  Photos.,  Alinari,  2462, 
2465-2473;  Brogi,  4688;  Casts,  Lelli,  437. 

The  hospital  of  S.  Paolo  built  for  convalescents  in  1413,  in  the  Piazza  di 


ANDREA  DELLA  ROBBIA 


130 

S.  Maria  Novella  under  the  patronage  of  the  Pinzocheri  or  Frati  del 
terz'Ordine  Serafico  and  of  the  Arte  dei  Giudici  e Notai,  became  through 
maladministration  so  short  of  funds  that  in  1425  the  Pope  interested  him- 
self in  its  reformation,  and  again  in  1451  commissioned  S.  Antonino,  then 
archbishop  of  Florence,  to  restore  order  to  its  chaos.  At  this  date  some 
enlargement  of  the  hospital  appears  to  have  been  made,  but  the  documents 
discovered  by  Cavallucci  show  that  the  Loggia  of  the  hospital  dates  from 
1489-1498. 

This  Loggia  is  not,  as  Rosselli  and  others  affirm,  to  be  attributed  to 
Brunelleschi  and  executed  after  his  death,  but,  as  Fabriczy  indicates,  to  a 
late  fifteenth  century  architect  like  Antonio  da  Sangallo,  the  elder.  Like 
the  Loggia  of  the  Innocenti  hospital  it  is  decorated  with  medallions  in  the 
spandrels  of  the  arches  and  half  medallions  at  the  extremities.  Vasari  tells 
us  that  all  the  decorations  are  by  Andrea  della  Robbia.  This  statement  is 
somewhat  too  sweeping,  since  two  medallions,  those  of  the  Healing  of  the 
Young  and  of  the  Old  Man,  are  certainly  to  be  assigned  to  another  hand. 

In  design  these  medallions  appear  to  have  been  thought  of  as  separate 
entities,  not  as  forming  a composition.  The  two  terminal  half  medallions 
present  busts  probably  designed  to  look  toward  the  middle  of  the  Loggia, 
but  as  placed,  they  not  only  turn  their  backs  on  the  rest  of  the  medallions, 
but  the  inscriptions,  if  read  from  left  to  right,  reverse  the  natural  order. 
Beneath  these  inscriptions  are  others  effaced  by  them.  These  earlier  in- 
scriptions are  also  reversed  in  order. 

1.  Half  medallion  with  bust  of  Benino  de’Benini  (Fig.  98).  Alinari,  2473. 
This  bust  represents  the  spedalingo  or  governor  of  the  hospital.  Pin- 

glazed  against  blue  background.  In  quality  to  be  classed  with  Andrea’s 
bust  of  Almadianus  at  Viterbo,  1510.  The  inscription  ALL  ANNO  1495 
replaces  an  earlier  inscription  DE  BENINI. 

2.  Medallion  of  Christ  healing  a young  man.  Alinari,  2463. 

By  some  minor  sculptor  of  the  Robbia  school. 

3.  Medallion  of  S.  Francesco  (Fig.  99).  Alinari,  2471. 

Andrea’s  S.  Francesco  of  La  Verna  is  here  more  sorrowful  and  sad. 
Stigmata  are  shown  on  hands  and  side.  His  nimbus  is  yellow,  his  robe  gray 
green.  The  face  and  hands  are  glazed  in  flesh  colour. 

4.  Medallion  of  S.  Lodovico  da  Tolosa  (Fig.  100).  Alinari,  2466. 

This  resembles  Andrea’s  S.  Lodovico  of  the  altarpiece  at  Gradara  Rocca 
and  Prato,  grown  older  and  more  experienced.  His  nimbus  and  crozier 
are  yellow;  his  tunic  light  blue,  the  mantle  dark  blue  lined  green.  His  stole, 
cord  and  gloves  are  white.  The  white  of  the  eyeball  is  in  strong  contrast 
to  the  flesh  colour  of  the  face. 


Fig.  98. — Portrait  of  Prete  Benino. 


Fig.  99. — S.  Francesco. 


100. — S.  Lodovico. 


Fig.  ioi. — S.  Antonio  of  Padua. 


Fig. 


1 32 


ANDREA  DELLA  ROBBIA 


5.  Medallion  of  S.  Antonio  of  Padua  (Fig.  101).  Alinari,  2470. 

This  mild  S.  Antonio  of  Padua,  with  book  and  sacred  flame,  is  here 
represented  by  Andrea  as  more  serene  than  in  the  altarpiece  at  the  Osser- 
vanza. His  gown  is  gray  blue,  the  book  blue  with  yellow  fittings,  the  flame 
violet.  His  face  and  hands  are  flesh  colour. 

6.  Medallion  of  S.  Bernardino  of  Siena  (Fig.  102).  Alinari,  2469. 

This  is  one  of  the  most  expressive  representations  of  this  saint.  His 

gown  is  gray  blue,  the  book  violet  with  yellow  fittings,  the  disk  blue  with 
yellow  monogram  of  Jesus. 

7.  Medallion  of  S.  Bonaventura  (Fig.  103).  Alinari,  2465. 

Older  and  more  sorrowful  than  in  the  Cintola  altarpiece  at  La  Verna 
or  in  the  vault  of  the  Osservanza,  S.  Bonaventura,  the  Seraphic  Doctor, 
wears  a gray  robe  over  which  is  a blue  mantle  adorned  with  violet  seraph 
or  cherub  heads  nimbed  in  yellow.  He  wears  a white  mitre,  jeweled  blue 
and  yellow,  and  white  gloves,  and  carries  a yellow  crozier  and  a violet  book 
with  yellow  fittings.  At  his  side  hanging  on  a green  band  is  his  violet 
cardinal's  hat.  His  face  is  flesh  coloured. 

8.  Medallion  of  S.  Elisabetta  of  Hungary  or  S.  Rosa  of  Viterbo  (Fig. 

104).  Alinari,  2468. 

S.  Elisabetta  (or  S.  Rosa)  who  may  be  seen  as  a younger  woman  in  the 
altarpiece  at  the  Medici  chapel  in  S.  Croce,  holds  roses  in  her  lap.  The 
roses  are  single  and  double,  as  in  the  Salviati  stemma  at  S.  Giovanni  in 
Valdarno.  Her  nimbus  is  yellow,  her  mantle  blue  gray,  her  robe  greenish 
gray,  her  veil  white,  her  face  and  hands  flesh  coloured. 

9.  Medallion  of  S.  Chiara  (Fig.  105).  Alinari,  2467. 

S.  Chiara,  clad  in  Franciscan  nun’s  costume,  is  older  and  more  careworn 
than  in  the  Osservanza  altarpiece.  She  carries  her  emblematic  lily  branch, 
and  a book,  green  with  yellow  trimmings.  Her  face  is  flesh  colour. 

10.  Medallion  of  Christ  healing  an  Old  Man.  Alinari,  2464. 

By  some  minor  sculptor  of  the  Robbia  School. 

11.  Half  Medallion  with  bust  of  Benino  de’Benini  (Fig.  106).  Alinari, 
2472. 

Unglazed  against  a blue  background.  The  inscription:  DAL  LANNO 
1451  covers  an  effaced  inscription  PRETE  -(-  BENINO.  That  Prete 
Benino  (or  Bonino)  was  the  spedalingo  of  the  hospital  is  confirmed  by 
Document  No.  14,  from  the  NATI  century  Ms  No.  176,  sent  me  by  Mr. 
Rufus  G.  Mather.  On  the  27th  of  January,  1451,  Pope  Nicholas  V ap- 
pointed Prete  Bonino  di  Antonio  di  Maso  Bonini,  at  that  time  chaplain  to 
the  Archbishop  Antonino,  to  serve  as  Governor,  Chief,  and  Administrator 
of  the  Hospital.  On  the  13th  of  April,  1452  this  was  made  an  appoint- 
ment for  life.  Prete  Bonino  died  in  1497. 


Fig.  103. — S.  Bonaventura. 


Fig.  102. — S.  Bernardino. 


Fig.  104.- — S.  Elisabetta. 


Fig.  105. — S.  Chiara. 


\ 


134 


ANDREA  DELLA  ROBBIA 


Documents:  [Revised  by  Mr.  Rufus  G.  Mather.] 

1. 

“1490 

Alla  nostra  muraglia  e prima  per  opere  e vetture 
della  pietra  forte  del  pilastro  del  canto  del  porticho 
e fornitura  de  capitelli  e peducci  a ricontro  del 
pilastro  come  chiaramente  si  vede  al  quaderno  di 
cassa  segnata  t a c 36  cosa  per  cosa  1 376  s 19  dj  4 
dadi  6 di  giugno  adj  primo  daghosto  1489.  Resta 
indrieto  el  costo  della  pietra  forte  avuta  da  lorenzo 
di  leonardo  ridolfi  posto  la  muraglia  debi  dare 
alibro  debitorj  e creditori  segnato  C a c 72  f 94  s 19 

dj  4 da  lire  quattro  luno  — 1 376  s 19  dj  4-  1 376  s 19  dj  4” 

[Archiv.  di  S.  Maria  Nuova,  Ospedale  di  San  Paolo,  Libro  di  Entrata  e 
Uscita,  1485-1496,  segnato  T,  c 82t. ] 

2. 

“1493 

A giusto  di  pierò  muratore  adj  24  di  detto  (dicenbre) 

1 27  s 19  porto  contanti  sono  per  opere  XV  di  maestro 
e opere  38  di  manovai  j as  16  el  maestro  e s 3 
amanovalj  misono  nel  murare  la  porta  della  chiesa 
nella  testa  del  porticho  posto  alibro  debitorj  e creditorj 
segnato  C.  a c.  72  a conto  della  muraglia  1 27  s 19—” 

[Idem,  c.  91.] 

3- 

Alla  nostra  muraglia  lire  14  s 17  chome  apare  al 
quaderno  di  gabella  di  vino  a c 22  per  segatura  dasse 
correnti  dalberj  e abetj  vechj  e dasse  di  nocj  per 
le  porte  del  porticho  dadj  11  daghosto  adi  22 
di  dicenbre  1494  posto  allibro  debitorj  e creditorj 

segnato  C a c.  72  a cóto  della  muraglia-  1 14  s 17—” 

[Idem,  c.  93.] 

4- 

“1495 

A marcho  di  vicho  da  santa  m“  inpruneta  f dodicj 
larghi  a soldi  133  luno  pellaltro  da  di  io  di  magio 
adj  (error  in  text)  1494  adj  16  di  magio  1495  sono  per 
conto  dembricj  e gronde  avute  dalluj  pel  tetto 
del  portico  e pellamattonato  delle  volte  sopra 
il  portico  sono  1 79  s 16  levatj  dal  quaderno 
biancho  di  gabelle  di  vino  a c 26  posto  lamuraglia 


ANDREA  DELLA  ROBBIA 


13 


Fig.  106. — Portrait  of  Prete  Benino. 


debi  debitore  alibro  debitorj  e creditorj  segnato 

C a c 72-  1 79  s 16" 

[Idem,  c.  95'.] 

5- 

“1495 

A lucha  di  tano  legnaiuolo  da  samichele  berteldj  adj  30  di 
detto  (genaio)  L due  e s dieci  sono  per  resto  di  ciò  che  noj 
abiamo  avuto  a fare  insieme  per  insino  a questo  dj  posto 
a conto  della  mitraglio  alibro  debitori  e creditorj  segnato 
C a c 72  - 1 2 s io” 

[Idem,  c 95'.] 

6. 

“1495 

A tommaso  dambruogio  inbianchatore  adj  io  di 
febraio  f 2 larghi  per  conto  della  inbianchatura  del 
porticho  dallato  di  sopra  e di  sotto  monto  lire 
cinquanta  dacordo  posto  a suo  conto  alibro 

pigionali  segnato  C a c 88  al  conto  della  pigione  - 1 13  s 8” 

[Idem,  c 96.] 


Ui 


1 36 


ANDREA  DELLA  ROBBIA 


/• 

“1496 

A giovanili  di  romolo  scharpellino  lavora  gli 
schaglionj  del  portico  L 33  s 9 di  contanti  e 
Gabelle  dadj  21  di  marzo  1494  adj  p"  di 
luglio  1495  al  quaderno  di  gabelle  di  vino 
a c 30  posto  a conto  della  muraglia  alibro 

debitorj  e credi  (tori)  C a c 76-  1 33  s 9” 

8. 

“Andrea  della  robbia  de  dare  L cientoquarantuna 
s.  io  sono  p(er)  un  chonto  allibro  debitorj  e creditori 
st0  c c.  74  1 141  s io  d- 

posto  al  detto  (biancho  sto  E)  c.  119 

[Arch,  di  S.  Maria  Nuova,  S.  Paolo,  Libro  Deb.  e Cred.,  Rosso  D.  1497- 
1502,  c.  22;  published  in  L'Arte,  NNI(  1918),  208.] 

9- 

“1498  Andrea  della  Robbia  de  dare  1 141  sol  10“ 

[Milanesi  Misceli.  40  III  P c.  365,  from  Archiv.  di  Sa.  Ma.  Nuova, 
Spedale  S.  Paolo,  Deb.  e Credit.  1498  al  1503,  seg'°  D c 22.] 

10. 

“ +1530 

Andrea  della  robia  da  dare  lib.  cèto 

quaràtuna  sol.  diecj  sono  p(er)  u°(uno)  suo 

chéto  al  detto  lib ( r ) o rosso  (D)  c.  22  ....  fj  lib.  141  io’’ 

[Arch,  di  S.  Maria  Nuova,  S.  Paolo,  Lib.  Deb.  et  Cred.,  Bianco  E,  1505- 
1543,  c.  1 19.] 

11. 

“Matt"  dipacholo  daterrarossa  e conpnj  (conpagnj)  fornaciaj  d(e)ono 
dare  adi  3 di  giugn0  1497  f lina  larghi  doro  in  oro  porto 


Matt"  angienj  a uscita  s*°  d c 51  - 
E adi  p"  di  luglio  f dua  larghi  doro  porto 

f 2 

1-  s- 

d- 

Matt"  angien  j - a uscita  sto  d c 52 — 

E adi  14  di  d(e)tt"  f dua  larghi  doro  porto 

f 2 

1-  s- 

d- 

Simone  dllarobja-  a uscita  st0  d c 53 — 

E adi  15  dachosto  L dodici  s 12  porto  chontantj 

f 2 

1-  s— 

d- 

- a uscita  s'°  d c 54 — 

E adi  18  dachosto  f uno  doro  porto  Simone 

f- 

1 12  s 12 

d- 

dllarobja  - a uscita  sto  d c 55 — 

E adi  9 di  settebre  f uno  doro  porto  Simone 

f 1 

1-  s— 

d- 

dllarobja-  a uscita  s*°  d c 56 — 

E adi  17  di  novebre  f q(u)atr°  doro  porto 

f 1 

1-  s- 

d- 

Matt0  angienj-  a uscita  st0  d c 59 — 

f4 

1-  s- 

d- 

ANDREA  DELLA  ROBBIA 


137 


E adi  20  di  dicébre  f dna  doro  porto  e 

dtt°  ehontantj-  a uscita  sto  d c 62 — f 2 1-  s-  d- 

E adi  17  di  febraio  f dua  doro  porto  Matt° 

angienj-  a uscita  st0  d c 65 — f 2 1-  s-  d- 

E adi  31  di  marzo  f uno  doro  porto  Matt" 

angienj-  a uscita  sto  d c 66 — f 1 1-  s—  d- 

13.  12.  12” 

[Archivio  di  Sa.  Ma.  Nuova,  San  Paolo,  Libro  Rosso  D 1497-1502,  c 

54-] 

12. 

“A  Mattcho  (should  be  Marcho)  daterrarossa  adi 
14  di  luglio  (1497)  f dua  doro  porto  simone 
di  marcho  dllarobja  aspese  di  muraglia- 

allibro  rosso  c 54-  f 2 1-  s-  d— ” 

[Archiv.  idem,  San  Paolo,  Entrata  e LTscita  D 1497-1502,  c.  53.] 

13- 

“A  Marcho  dipacholo  daterarossa  fornaciaio 
f uno  doro  porto  simone  dllarobja  aspese 

di  muraglia-  allibro  rosso  c 54 — f 1 1-  s—  d— ” 

[Idem,  c.  55.] 

14- 

“A  Marcho  daterrarossa  fornacjaio  f uno 
doro  porto  simone  dllarobja  stacholloro 

aspese  dimuraglia — allibro  rosso  c 54 — f 1 1-  s-  d-M 

[Idem,  c.  56*.] 

15- 

“San  Paolo  dei  Convalescenti. 

Et  perche  in  detto  spedale  e luogo  nacevano  molte  dificulta  e 

disensione  p(er)  Breve  di  Niccola  0/5  (quinto)  di  27  di  gemi"  delanno  1451 

d°  spedale  e luogo  fu  visitato  dal  Reverendisimo  Arcivescovo 

antonino  di  Sta  Ma  insieme  con  il  visitatore  di  d°  spedale 

delordine  de  Minori  Conventuali  e del  Proconsolo  e furono 

fatte  molte  ordinazioni  e vi  fu  messo  Governatore  Capo 

et  aministratore  Prete  Bonino  di  Ant°  Masi  da  Pitigniano 

Cappellano  in  quel  tempo  di  d°  Mons  Arcivescovo  e 

perche  la  sua  administratione  era  ammovibile  il  d"  Prete 

ricorse  lanno  seguente  a S sta  e sotto  di  13  di  Aprile 

1452  p(er)  Breve  del  med"'°  Niccola  0/5  fu  confermato  in 

spedalingo  a vita  con  conditione  che  fusse  obligato  ogni 

anno  a rendere  contto  della  sua  administratione  all  Arcivescovo 

di  fìrenze  come  p(er)  d"  Breve  e con  altre  conditionj  come 


138  ANDREA  DELLA  ROBBIA 

p(er)  le  scritture  di  n°  25  et  26. 


L’anno  1497  sendo  vacato  detto  spedale  p(er)  lamorte  di  Prete 
Bonino  etc.  etc. ” 

[Archivio  di  Stato,  Schedario  Manoscritti  No.  176,  busta  19,  Carte  del 
Sec.  XVII.  J 

Bibl.  : 

B.  J.,  20-21  note  3,  39,  62-63;  B.,  Kf.,  16,  24;  A.  S.  A.,  11(1889), 
3;  It.  PI.,  93;  Denkm.,  86;  Buri.,  53;  C-M.,  93-981  Doc.),  212  No.  41; 
Cr.,  188-192,  306-307 ( Doc. ) , 326;  C.,  s.v.  del  Benino;  Demmin,  218; 
D.  D.,  30;  Labriczy,  Bruii.,  259-262;  Lantozzi,  Guida,  533;  Lov.,  112; 
M.,  R.  H.,  80,  169-170;  R.  G.  M.,  L'Arte,  XXK1918),  2o8(Doc.)  ; 
Michel  IV,  125-126;  Perkins,  T.Sc.,  I,  198;  H.  H.,  143;  Passerini 
174ft'.;  R.,  D.  R.,  214-215;  Se.  Fi,  III,  179,  182;  Richa,  III,  130; 
Rosselli,  64;  von  Rumohr,  II,  295  note;  S.,  117-118;  Vas.,  II,  180 
note  1 ; V.,  VI,  584. 

89  MEETING  OF  S.  FRANCESCO  AND  S.  DOMENICO.  Florence. 
Ospedale  di  S.  Paolo,  Loggia.  Lunette.  H.,  1.40m.;  W.,  2.70m. 
Photos.,  Alinari,  2474  ; Brogi,  4689~4689a;  Casts;  Cantagalli,  405; 
Lelli,  41 1-412. 

The  documents  published  from  the  Archives  of  the  Hospital  of  S.  Paolo 
mention  payments  made  in  1493  t°  Giusto  di  Piero  muratore,  for  building 
the  doorway  of  the  church  at  the  head  of  the  Loggia  (Doc.  No.  2 of  the 
preceding) . 

Over  the  doorway  a lunette  (Fig.  107)  represents  the  meeting  of  S. 
Francesco  and  S.  Domenico.  Cavallucci  suggests  that  this  had  a specific 
meaning  for  the  hospital,  since  the  Archbishop  S.  Antonino,  a Dominican, 
had  struggled  from  1451  to  1458  with  the  proprietors,  the  Pinzocheri, 
Franciscans.  But  this  struggle  was  long  since  past  when  the  relief  was 
put  in  place.  The  union  of  Franciscans  and  Dominicans  was  the  object 
of  the  prayers  and  sermons  of  Savonarola  and  had  a general  significance 
at  the  end  of  the  XV  century. 

There  can  be  little  doubt  that  this  fine  composition  came  from  the  hands 
of  Andrea  himself.  It  shows  his  sympathetic  treatment  of  the  faces  and 
hands  of  elderly  people,  such  as  we  see  in  the  medallions  in  the  exterior  of 
the  Loggia,  in  the  bust  of  Almadianus  (1510),  and  elsewhere.  The  de- 
mand for  naturalistic  colouring  led  to  the  imitation  of  flesh  colour  in  glaz- 
ing faces  and  hands,  but  in  the  medallions  of  the  saints  this  was  not  alto- 


ANDREA  DELLA  ROBBIA 


139 


gether  successful,  and  here  was  abandoned  altogether.  Henceforth,  the 
followers  of  Andrea  frequently  left  the  representation  of  flesh  unglazed. 
Superficial  painting  was  substituted  for  glazing.  We  may  also  note  in  the 
case  of  S.  Domenico  a somewhat  sentimental  pose,  such  as  is  found  in 
Andrea’s  later  lunettes  at  Pistoia  and  Viterbo.  These  characteristics  are 


jim:  1 I»  i.  I 

Fig.  107. — Meeting  of  S.  Francesco  and  S.  Domenico. 


not  found  in  Luca's  more  majestic  Visitation  of  Mary  and  Elizabeth  in 
S.  Giovanni  fuorcivitas,  Pistoia,  to  which  this  relief  has  been  compared  by 
André  Michel. 

S.  Francesco  is  here  clad  in  greenish  gray  and  S.  Domenico  in  violet 
black  monastic  gowns.  The  clouds  in  the  background  are  in  relief  and 
exhibit  more  than  the  white  and  black  of  Andrea’s  earlier  reliefs.  They 
are  here  touched  with  a greenish  yellow — forerunners  of  the  golden  clouds 
in  the  reliefs  of  some  of  Andrea’s  followers. 

Bibl.  : 

See  preceding;  also:  B.,  Denk.  Taf.  270;  W.  D.  R.,  8.  Taf.  39;  C-M., 
79-80,  96  (Doc.);  Cr.,  189-190,  307  (Doc.);  D.  D.,  31,  Abb.  46; 
Fov.,  112-113;  R.,  D.  R.,  212-214;  Sc.  FI..  Ill,  179;  S.,  118-119, 
Abb.  127. 


140 


ANDREA  DELLA  ROBBIA 


90  STEMMA  OF  LARIONE  MARTELLI.  1498.  Pistoia,  Companile. 
Photo.,  Private. 


Unframed  and  lacking  the  inscribed  tablet  is  a shield  of  unusual  form 
(Fig.  108)  with  decorated  apices  and  a raised  border.  It  bears  the  Mar- 
telli arms  : gules,  a griffin  segreant  or. 

According  to  the  official  records  Narione  di  Bartolommeo  Martelli  was 


Fig.  108. — Martelli  Stemma. 


appointed  Podestà  of  Pistoia  for  6 months,  beginning  Jan.  3,,  1498.  The 
Princeton  Museum  Prioristà  records  a Larione  di  Bartolo  Martelli  as  Prior 
of  Florence  in  1498  and  1511. 


Document  : 


1.  “1498  Nariono  dj  Bartolom"  Martellj  P“  9 Gen"" 
[Archivio,  di  Stato,  Sched.  Mss.  no.  496,  c.  415.] 


O 


“Potàs  Pistorij  Reduct  pro  6 
Uno  judice  doctorato 
Uno  Milite  socio  not" 
Duobus  alijs  not(ar)ijs 
Quattuor  domicellis 
xv  famulis  inter 
quos  sit  unius  constabilis 
Quatuor  equis 


mensibus  cu 

cum  sal(ario)  libra 
rum  duaruin 
milium  quod 
ringentarum 
pro  quolibet 
semestri  sibi 
dand(o)  a dicta 
commutate  pistorij 


ANDREA  DELLA  ROBBIA 


141 

Ilarion  bart’  nic’  de  martellis  - 6 mesi  et  di  15  init  die  3 januarij  1498” 
[Archiv.  di  Stato,  Reg.  Extrins.,  1508-1529,  Segnalo  Tratte  71,  c.  27.] 

Bibl.  : 

C.,  s.v.  Martelli;  Litta,  s.v.  Martelli;  M.,  L.  D.  R.,  247-248;  R.  H., 
115-116,  Fig.  1 13  ; P.,  451-453;  W.,  152. 

91  STEMMA  OF  GIOVACHINO  GUASCONI.  1499.  Certaldo, 
Palazzo  Pretorio.  Photo.,  Alinari,  8534“. 


Within  a wreath  of  eight  bunches  of  fruit  and  flowers,  of  triplex  with 
tendency  to  quinqueplex  composition,  separated  by  transverse  fluted  rib- 


- — |-i 

O I. 


GIOVACI  II  II 
GHVASCO  N 
VEGI1V8W?: 


. 'W 


Fig.  109. — Guasconi  Stemma. 


142 


ANDREA  DELLA  ROBBIA 


bons,  is  a blue  fluted  disk  against  which  is  set  a kite  shaped  shield  (Fig. 
109)  bearing  the  Guasconi  arms:  Argent,  three  chevronels  sable  (the  sec- 
ond surmounted  by  a crosslet  of  the  same). 

Below,  a putto  of  unusual  beauty  unfolds  a horizontal  scroll  inscribed  : 
GIOVACHINO 
GHVASCONI 

V (ICARI)O  E C(OMMISSARI)0  1498  * 1499  • 


Bibl.  : 

C.,  s.v.  Guasconi;  M.,  R.  H.,  117,  Fig.  114;  W.,  147. 


ANDREA  DELLA  ROBBIA 
1500-1510 


ANDREA  DELLA  ROBBIA 


1500-15  io 

92  THE  ASCENSION.  La  Verna.  Chiesa  Maggiore.  Altarpiece.  H., 
4.57m.;  W.,  3.08m.  Photo.,  Alinari,  No.  9834. 

This  altarpiece  (Fig.  no),  at  one  time  the  Altare  Maggiore,  has  been 
in  the  Ridolfi  chapel  at  La  Verna  since  1601.  It  may  have  been  ordered  by 
Ridolfo  di  Pagnozzo  Ridolfi  who  in  1477  set  up  in  Robbia  ware  his  stemma 
at  S.  Giovanni  in  Valdarno,  and  who  in  Florence  was  a Prior  in  1480, 
Gonfaloniere  in  i486  and  1490.  The  Christ  raises  both  hands  to  exhibit 
the  stigmata.  The  four  couples  of  adoring  angels,  though  not  so  elabo- 
rately conceived  as  those  of  the  Crucifixion  altarpiece  at  La  Verna,  are 
nevertheless  full  of  Andrea’s  grace  and  charm.  The  landscape,  with  its 
bluish  green  mountains  and  its  brown  and  green  trees,  is  somewhat  more 
realistic  than  that  in  Luca’s  Ascension  relief  in  the  Cathedral  of  Florence. 
The  kneeling  group,  consisting  of  the  Madonna  and  the  Eleven  Apostles, 
is  perhaps  less  noble  than  the  group  in  Luca’s  Ascension,  but  is  more  skil- 
fully composed  than  the  other  similar  groups  from  Andrea's  atelier.  Their 
eyes  have  yellow  irises,  and  violet  brows,  lashes  and  pupils. 

The  double  frame,  with  its  fruit  and  cherub  friezes,  its  billet  and  cord 
mouldings,  is  closely  related  to  the  frame  of  the  Crucifixion  altarpiece  in 
the  Cappella  delle  Stigmate,  and  the  predella  is  decorated  with  the  network 
of  cubes  found  upon  the  wall  tiles  of  that  chapel.  We  may  note  that  the 
bunches  of  fruit  are  more  complex  and  rise  from  slenderer  blue  vases;  at 
the  top  of  the  frame  is  a disk  enclosing  a cherub  head  from  which  radiate 
golden  streams  of  light.  The  cherub  heads  of  the  inner  frieze  are  all  set 
perpendicular  to  the  direction  of  the  frieze,  and  clonds  beneath  or  beside 
them  are  omitted. 


Bibl.  : 

Beni,  360;  B.,  Kf.,  16;  Burckhardt,  II,  434;  Burl.,  1 19  ; Compendio 
della  Divozione  e Meraviglie  del  sagro  Monte  della  Verna  (Cesena, 
1826),  83;  C-M.,  92,  256  No.  331;  Cr.,  170,  220,  331;  Fov.,  108; 
Graziani,  147-148;  M.,  Scribner's,  1893,  69 7;  Mencherini  251-254; 
P.,  Pr.  Mus.  Copy,  282;  Reumont,  Kunstbl.  No.  206(1831);  R., 
D.  R.,  178;  Sc.  FI.,  Ill,  163;  Vas.,  II,  198. 


Fig.  no. — The  Ascension.  La  Verna. 


Fig.  hi. — Marble  Altarpiece.  S.  Maria  delle  Grazie,  Arezzo. 


i48  ANDREA  DELLA  ROBBIA 

93  ALTARPIECE,  CHIEFLY  MARBLE;  WITH  MADONNA. 
PROPHETS,  SAINTS,  PIETÀ.  Arezzo.  S.  Maria  delle  Grazie. 
Altarpiece.  H.,  7.20m.;  W.,  3.70m.  Photos.,  Alinari,  9759-9766. 

Vasari  opens  his  account  of  Andrea  della  Robbia  with  praise  for  his 
work  in  marble  and  cites  this  altarpiece  as  evidence  of  his  skill.  It  is  strange 
that  no  other  work  of  Andrea's  in  marble  is  known  to  exist.  The  general 
composition  of  the  altarpiece  (Fig.  111)  may  have  been  due  to  Benedetto 
da  Maiano,  who  designed  the  porch  of  this  church  in  1495.  The  slender 


; _ . _ ‘ j j j ^ j „ : : . * ~ u * ^ ^ i jjjj 


'jjjTmTiTnTnmf 


__  wmammm 


Fig.  i 12. — Lunette,  Madonna  and  Angels. 


pilasters  with  their  candelabra  decoration  do  not  suggest  Andrea  della  Rob- 
bia and  could  never  have  been  designed  or  executed  by  Giovanni  della 
Robbia.  Giovanni,  however,  may  well  have  executed  the  hanging  garlands 
and  some  of  the  architectural  details.  The  Madonna  and  angels  of  the 
lunette  (Fig.  112)  are  related  to  Andrea's  Madonnas  of  1489  and  1505; 
and  the  four  Saints  in  niches — S.  Donato,  with  the  grotesque  symbol  (for 
the  dragon’s  head)  (Fig.  1 1 3 ) , S.  Bernardino  of  Siena,  with  the  mono- 
gram of  Jesus  (Fig.  1 14),  and  the  two  deacon  martyrs  SS.  Stefano  and 
Lorenzo — are  reflections  of  the  same  saints  as  portrayed  during  this  period 
bv  Andrea  della  Robbia. 


ANDREA  DELLA  ROBBIA 


149 


The  aitar  front  (Fig.  1 1 5 ) , representing  the  Pietà  or  Christ  in  the 
sepulchre,  flanked  by  his  Mother  and  S.  Giovanni,  may  without  hesitation 
be  attributed  to  Andrea  himself.  It  recalls  to  mind  Luca’s  treatment  of  the 
same  theme  as  a background  to  the  Federighi  tomb,  but  chastened  by  An- 
drea’s greater  refinement.  The  Mater  Dolorosa  is  superior  to  Luca’s  as  an 


Fig.  113. — S.  Donato. 


expression  of  natural  sorrow  ; the  Christ  standing  in  his  tomb  displaying 
the  stigmata  was  admired  enough  to  be  repeated  several  times  in  terra- 
cotta; and  the  S.  Giovanni,  with  folded  hands,  though  somewhat  senti- 
mental is  at  least  the  equal  of  Luca’s. 

Bibl.  : 

B.  J.,  39-42,  72-73;  B.,  Kf.,  15;  Denk.,  84,  Taf.  263;  A.  S.  A.,  II 
(1889),  3;  Burl.,  T12;  C-M.,  82-88,  224  No.  1 14;  Cr.,  191-195,  325; 
327;  Fov.,  in;  Geymuller,  II,  3-4,  Bl.  1;  M.,  Sc.  Mag.,  1893,  697; 
Michel,  IV,  121-122  ; Perkins,  H.  Id.,  144;  R.,  D.  R.,  195-197;  Sc.  FI., 
Ill,  171-172;  S.,  120-121,  Abb.  132;  Tour  du  Monde,  1880,  238-240; 
Vas.  II,  179  ; Vita,  55. 


ANDREA  DELLA  ROBBIA 


150 


Fig.  114. — S.  Bernardino. 


94  PIETÀ  OR  CHRIST  IN  SEPULCHRE.  Florence.  Piazza  di  S. 
Spirito.  Monte  di  Pietà.  Lunette.  Photo.,  Alinari,  2514;  Casts, 
Cantagalli,  403;  Lelli,  383. 

A fine  replica  (Fig.  1 1 6 ) , with  slight  variations,  of  the  Pietà  in  the 
marble  altar  at  S.  Maria  delle  Grazie,  Arezzo.  White  figure  on  blue,  sepul- 
chre violet. 

Bibl.  : 

B.,  Denk.,  86,  Taf.  262;  Cr.,  195,  325;  D.  D.,  30,  Abb.  45;  R.,  D.  R., 
200;  Sc.  FI.,  Ill,  173;  S.,  121,  Abb.  133. 


ANDREA  DELLA  ROBBIA 


I5I 


Fig.  i i 5. — Pietà. 


95  FRAGMENTS  OF  AN  ALTARPIECE.  S.  Angelo  in  Vado  (near 
Pesaro).  S.  Chiara  and  S.  Maria.  Photos.,  Private. 

The  two  churches  S.  Chiara  and  S.  Maria  share  between  them  frag- 
ments of  this  fine  altarpiece  (Figs.  117-121).  It  was  apparently  a round- 
headed  relief  with  a frame  consisting  of  a garland  of  fruit  rising  probably 
from  blue  and  violet  vases  and  set  between  an  outer  egg  and  dart  and  an 
inner  cord  moulding.  Two  fragments  of  the  curved  portions  of  the  frame 
are  in  S.  Chiara  and  two  vertical  sections  are  in  S.  Maria.  The  predella 
must  have  been  unusually  attractive.  The  church  of  S.  Chiara  preserves 


Fig.  i 16. — Pietà.  Piazza  di  S.  Spirito. 


three  reliefs:  (1)  a Deposition  or  Lamentation  over  the  dead  Christ;  (2) 

the  kiss  of  Judas;  and  (3)  two  soldiers,  a portion  of  the  preceding  compo- 
sition or  of  a relief  representing  the  Capture  of  Christ.  The  latter  reliefs 
are  unique  in  Robbia  monuments. 


152 


ANDREA  DELLA  ROBBIA 


The  subject  of  the  main  relief  is  not  clearly  revealed  by  the  fragments. 
At  the  top  we  may  place  the  bust  of  God  Father  and  angels  (Fig.  117), 
awkwardly  recomposed  in  rectangular  form  in  S.  Chiara.  He  probably  had 
both  hands  raised,  as  at  Montepulciano,  Foiano,  and  Memmenano,  but  was 
surrounded  by  angels  rather  than  cherub  heads.  From  him  radiate  plastic 


Fig.  i 17. — God  Father. 


streaks  of  golden  light,  to  be  seen  also  in  the  blue  background  of  the  adoring 
angels  (in  S.  Maria).  Between  these  angels  we  may  place  the  Dove  (in 
S.  Chiara).  There  still  remain  two  busts  and  two  heads — the  bust  of  a 
youthful  saint  or  angel  is  exceptionally  fine — for  which  it  is  not  easy  to 
find  an  appropriate  position.  Possibly  as  was  the  case  at  Montepulciano 
the  altarpiece  served  as  a ciborium,  with  a central  recess  for  a painting.  In 
this  case  the  busts  and  heads  might  be  in  someway  arranged  as  adorers  of 
the  Sacred  Host. 

It  is  a great  misfortune  that  of  this  central  relief  there  are  such  scanty 
remains. 

Bibl.  : 

Anseimi,  A.  S.  A.,  VIII  (1895),  447;  Antaldi,  A.  e S.,  1887,  226,  234, 
243;  Cr.,  354;  V.,  A.  S.  A.,  I (1888),  90. 

96  CORONATION  OF  THE  VIRGIN  AND  RESURRECTION  OF 
CHRIST.  Aquila.  S.  Bernardino,  Cappella  Oliva-Vetusti.  Round- 
headed  relief.  H.,  3.10m.;  W.,  2.50m.  Photo.,  Fallerini. 

The  church  of  S.  Bernardino  at  Aquila  was  begun  in  1454  and  finished 
in  1472.  In  the  chapel  of  the  Oliva-Vetusti  family  are  busts  of  Canon 
Ascanio  Oliva  and  other  distinguished  members  of  the  family.  The  altar- 
piece  (Fig.  122)  was  ordered  from  Florence  by  some  member  of  this  fam- 
ily. Originally  it  was  probably  surrounded  with  a Robbia  frame,  of  cherub 
heads  and  possibly  a fruit  garland;  later  the  frame  was  abandoned  and 


Figs.  118-119. — Fragments  of  Altarpiece.  S.  Angelo  in  Vado. 


154  ANDREA  DELLA  ROBBIA 


Figs.  120-121. — Fragments  of  Altarpiece.  S.  Angelo  in  Vado. 


greater  height  given  to  the  central  relief  by  the  addition  in  plaster  of  Ro- 
coco angels  and  clouds. 

The  composition  is  a combination  of  the  Coronation  and  the  Resurrec- 
tion. The  unity  of  the  scene  as  to  subject  consists  in  the  thought  of  a 
resurrected  Christ  about  to  ascend  to  a heaven  where  his  Mother  is  being 
crowned  as  Queen.  About  the  sarcophagus  are  four  sleeping  soldiers  and 
a civilian  (donor?  or  Joseph  of  Arimathea).  The  four  standing  saints 
are  S.  Benedetto  with  his  aspergill,  accompanied  by  his  sister  S.  Scholastica 
to  the  left,  and  S.  Chiara  and  S.  Francesco  to  the  right. 

The  Coronation  scene  is  more  closely  related  to  the  Assisi  than  to  the 


ANDREA  DELLA  ROBBIA 


x55 


Siena  composition.  The  mandorla  or  glory  is  composed  of  cherub  heads 
with  a single  pair  of  wings,  emphasized  above  and  below  by  larger  cherubs 
with  two  pairs  of  wings.  Four  couples  of  trumpeting  angels  surround  this 
group.  These  are  arranged  so  as  to  form  a group  with  the  four  couples  of 
adoring  angels  in  the  Resurrection  scene.  Some  of  these  angels  seem  to 
have  been  modelled  by  an  apprentice  hand,  but  the  principal  figures  may  be 
attributed  to  Andrea  himself.  The  Coronation  scene  is  finer  than  that  at 
S.  Fiora  and  very  nearly  equal  to  that  at  Assisi  ; the  Resurrection  is  An- 
drea’s best  interpretation  of  that  subject,  possibly  similar  to  the  Resurrec- 
tion he  made  for  S.  Frediano  in  1501,  certainly  finer  than  the  Resurrections 
at  the  Accademia,  at  S.  Fiora,  and  in  the  Berlin  Museum. 

The  predella  scenes  of  the  Annunciation,  the  Nativity  and  the  Adoration 
of  the  Magi  (head  of  kneeling  king  and  of  Child  repaired)  are  modifica- 
tions of  those  at  Assisi.  The  Circumcision  scene,  based  possibly  on  the 
Circumcision  made  for  the  Bacci  family  at  Arezzo,  is  somewhat  similar  to 
that  in  the  Ascension  relief  at  Foiano.  Mouldings  and  pilasters  as  in  the 
altarpiece  in  S.  Francesco,  Foiano. 

Bibl.  : 

Bindi,  324,  Tav.  162  ; B.,  Kf.,  25  ; Bonafede,  137  ; Burl.,  65,  1 12  ; C-M., 
223  No.  109;  Cr.,  331  ; Leosini,  202;  Manieri,  Faenza,  VI (1918),  30- 
32;  Perkins,  H.  H.,  143;  Serra,  53-55,  Tav.  34-35. 

97  THE  CIRCUMCISION.  Arezzo.  S.  Francesco,  Cappella  Bacci. 
Altarpiece  ( formerly) . 

Vasari  mentions  an  altarpiece  by  Andrea  della  Robbia  representing  the 
Circumcision,  made  for  the  Bacci  family  and  presumably  for  a chapel  of 
theirs  in  S.  Francesco.  The  whereabouts  of  this  altarpiece,  if  it  still  exists, 
is  unknown.  The  composition  however,  is  probably  preserved  in  a pre- 
della piece  of  the  large  altarpiece  in  S.  Bernardino  at  Aquila. 

Bibl.  : 

Vas.,  II,  179. 

98  MADONNA  AND  CHILD  BETWEEN  ANGELS.  1505. 
Pistoia.  Duomo.  Over  entrance  portal.  Lunette.  H.,  1.60m.  ; W., 
2.20m.  Photo.,  Alinari,  10159. 

This  relief  (Fig.  123)  is  important  as  an  example  of  Andrea  della  Rob- 
bia’s work  when  he  was  seventy  years  of  age.  Documents  show  that  it 
was  completed  in  August  1505. 


Fig.  122. — The  Coronation  and  the  Resurrection.  Aquila 


ANDREA  DELLA  ROBBIA 


157 


The  fact  that  the  relief  was  widened,  thus  decentralizing  the  composition 
and  necessitating  some  patchwork  to  the  right  was  probably  not  Andrea’s 
fault.  Let  us  note  some  of  the  details.  The  Madonna  is  the  same  indi- 
vidual who  presides  over  the  entrance  of  the  Cathedral  at  Prato,  but  here 
somewhat  older,  modelled  more  summarily  and  with  less  effort.  Her  eyes 
have  violet  brows,  lashes,  pupils,  and  yellow  irises.  The  nude  standing 
Child  has  one  arm  about  her  neck,  the  other  rests  against  her  breast — a 


Fig.  123. — Lunette  of  Madonna  and  Angels.  Pistoia  Cathedral. 


motive  inherited  from  Luca  and  used  a number  of  times  in  Andrea’s  atelier. 
For  the  first  time  the  Child  is  posed  upon  a pedestal.  At  either  side  is  an 
adoring  angel.  Above  are  two  angels  wearing  pectorals,  holding  a lilied 
crown  over  the  Madonna’s  head.  The  cloud  shadows  are  marked  with  dark 
violet.  A frieze  of  eleven  cherub  heads,  white  on  blue,  set  between  plain 
mouldings  frames  the  relief. 


ANDREA  DELLA  ROBBIA 


158 

Documents:  [Quoted  from  Bacci,  II,  167-185.] 

1. 

“Lunedi  a di  xxx  detto  [di  decembre  1504]. 

Da  entrata  di  denari  per  debiti  vecchi  a di  soprascritto  da  l'opera  di 
san  jacopo  contanti  lib.  lxx  e per  detta  da  pietro  del  benino  e giovanili 
binducci  proveditore  e per  noi  pagorno  a andrea  di  marcilo  dalla  rabbia 
pago  lui  per  arra  di  uno  mezo  tondo  e una  nostra  donna  s’è  obrigato  a fare 
sopra  alla  porta  del  duomo,  di  terra  chotta  smaltata,  per  prezo  di  fior,  cin- 
quanta d’oro  larghi  chome  più  larghamente  apare  per  uno  foglio,  schritto 
per  me  bartolomeo  zeloni  e soscritto  di  mano  di  detto  andrea,  el  quale  è 
in  mano  di  pietro  del  benino  proveditore  soprascritto  lib.  70,  sol.  -. 

Posto  a libro  [A]  cc.  170,  171.” 

[Arch,  comunale  di  pistoja  — Opera  di  s.  Giov.  e Zenone,  Giornale  del 
libro  A,  cod.  236,  c.  148.] 

2. 

“Andrea  di  marcho  dalla  rabbia  de’  dare  a di  30  di  dicenbre  [1504] 
contanti  lib.  lxx  ebbe  per  noi  da  l’opera  di  san  jacopo  e per  detta  da  pietro 
del  benino  e giovanili  binducci  proveditore  pago  lui  per  arra  di  uno  mezo 
tondo  e una  nostra  donna  s'è  obrigato  a fare  di  terra  chotta  smaltata  sopra 
alla  porta  del  duomo  choperto  il  mezo  tondo  di  schagle  di  quella  medesima 
materia  per  prezo  di  fiorini  cinquanta  d’oro  in  oro  larghi  chome  apare  per 
uno  foglio  di  mano  di  bartolomeo  zeloni  e soscritto  di  mano  di  detto  andrea 
cioè  in  questo  a uscita  a c.  171  lib.  70,  sol.  -. 

E a di  3 di  maggio  1505  contanti  fior,  ij  d’oro  larghi  e per  noi  da  pietro 
del  benino  pago  el  figluolo  c.  171  lib.  14,  sol.  -. 

E a di  detto  per  staia  xij  di  grano  a lib.  vj,  sol.  vij  li  mandai  a firenze 
e sol.  xxviij  pagai  di  vettura  in  tutto  c.  171  lib.  41,  sol.  12. 

E a di  22  detto  lib.  lx  ebbe  per  noi  da  pietro  sino  a di  17  di  detto  in 

tanto  vino  c.  171  lib.  60,  sol.  -. 

E a di  15  di  luglio  contanti  fior,  iiij"  d’oro  larghi  ebbe  per  noi  da  pietro 
del  benino  c.  17 1 lib.  28,  sol.  -. 

E a di  9 d'ogosto  contanti  lib.  xxxv  sol.  vij  ebbe  lui  per  noi  da  pietro 
a c.  172  lib.  35,  sol.  7. 

E a di  19  detto  contanti  lib.  xxv  sol.  v ebbe  lui  per  noi  da  Pietro  a c. 
172  lib.  25,  sol.  5. 

E a di  22  detto  contanti  lib.  lxij  sol.  iiij.°  ebbe  per  noi  da  pietro  a c. 
172  lib.  62,  sol.  4. 

E sino  a di  7 detto  contanti  sol.  vj  pago  lui  per  chomprare  spugna  e 
cholla  c.  172  lib.  -,  sol.  6. 

E sino  a di  16  detto  per  once  5 di  linseme  cioè  olio  di  linseme  ebbe  da 
gherardo  dondoli  c.  172  lib.  -,  sol.  5. 


ANDREA  DELLA  ROBBIA 


159 


E a di  25  detto  contanti  lib.  13  pago  lui  per  noi  da  pietro  per  resto  di 
fior.  50  d’oro  larghi  monta  la  vòlta  c.  172  lib.  13,  sol.-.’’ 

[Arch,  comunale  di  pistoja  — Opera  di  s.  Giov.  e Zenone,  Libro  A,  cod. 
235,  c.  172'.] 

3- 

“Sabbato  a di  iij  di  maggio  [1505]. 

A uscita  di  denari  per  le  porti  del  duomo  a di  soprascritto,  a andrea  di 
marcho  dalla  robbia  a di  soprascritto  contanti  fiorini  dua  d’oro  larghi  e per 
noi  da  pietro  del  benino  pago  el  figluolo  lib.  14,  sol. 

E a di  detto  per  staia  xij  di  grano  a sol.  lxvij  lo  stajo  montano  lib.  xl 
sol.  iiij.°  e sol.  xxviij  pagai  di  vettura  a mandarlo  a lui  a fìrenze  in  tutto 

Posto  a libro  [A]  cc.  170,  171.  lib.  41,  sol.  12. 

. . .A  uscita  di  denari  per  le  porti  a di  soprascritto  [giovidi  a di  xxij 
detto]  a andrea  di  marcho  dalla  robbia  lib.  lx  ebbe  per  noi  da  pietro  del 
benino  sino  a di  17  detto  in  tanto  vino  cioè  lib.  60,  sol.  -. 

Posto  a libro  [A]  c.  171.” 

[Arch,  comunale  di  pistoja  — Opera  di  s.  Giov.  e Zenone,  Giornale  del 
libro  A,  cod.  236,  cc.  150'.] 


Bibl.  : 

Bacci,  II,  167-185  (Doc.);  B.  J.,  71-72;  Beani,  33;  B.,  Kf.,  16,  24; 
A.  S.  A.,  1889,  3;  Denk.,  87,  Taf.  271;  Burckh.,  360;  C-M.,  106 
(Doc.),  243  No.  232;  Cr.,  195-196,  310  (Doc.),  330;  Fov.,  115; 
Gualandi,  VI,  33-35  (Doc.),  Giglioli,  85-87  (Doc.)  ; Repetti,  IV,  433 
(Doc.);  R.,  D.  R.,  201-202;  Se.  FI.,  Ili,  173-175;  Tigri,  Discorso 
(Doc.)  ; Vas.,  Il,  197. 

99  ARCHI  VOLT  AND  VAULT  DECORATION.  1505.  Pistoia. 
Duomo,  Porch  decoration.  Photo.,  Alinari,  10160. 

In  front  of  the  Cathedral  at  Pistoia  is  a porch  of  which  the  central  open- 
ing is  arched,  giving  access  beneath  a barrel  vault  to  the  main  entrance. 
(1)  The  exterior  arch  is  decorated  with  a terra-cotta  fruit  frieze,  capped 
with  a white  shell  set  against  a blue  background.  (2)  The  vault  has  a 
charming  coffered  ceiling  (Fig.  124),  large  yellow  rosettes  against  a blue 
ground,  framed  by  a series  of  leaf  and  dart  and  egg  and  dart  mouldings. 
On  each  side  of  these  square  coffers  are  broad  bands,  each  containing  two 
bunches  of  fruit  and  flowers  of  triplex  composition,  set  dos-a-dos,  white  on 
blue.  At  the  angles  are  smaller  cofferings,  each  with  a white  ball  against 
blue  backgrounds. 


i6o 


ANDREA  DELLA  ROBBIA 


I Ipiwm  amn  »j.- 
£7^71  h ■ ■ ■■■  --  ■ • 


^■;.i.  ;0O-' '* 


Documents:  [Quoted  from  Bacci,  II,  167-185.] 

1. 

“A  uscita  di  detto  [martedì  a di  xv  di  luglio  (1505]  per  la  vòlta  a di 
soprascritto  sino  a di  soprascritto  sino  a di  xij  detto  a tonio  di  giovanni 
vetturale  da  san  donnine  contanti  sol.  xxx  pago  lui  per  noi  da  pietro  del 


benino  per  parte  di  vettura  della  vòlta  rechò  da  fìrenze  lib.  -,  30  sol. 

. . .E  a di  15  detto  a andrea  dalla  robbia  contanti  fior.  iiij.°  d’oro  larghi 
ebbe  per  noi  da  pietro  lib.  28,  sol.  -. 

. . .E  a di  19  detto  per  libbre  1,  once  8 d’auti,  per  uno  choppo  e per 
spugna  per  lavare  e marmi  lib.  -,  sol.  7,  4. 

E a di  detto  a Filippo  di  m.°  marcho  contanti  sol.  xx  pago  lui  per  parte 
di  2 opere  di  muro  e 3 di  manuale  aiutò  alla  vòlta  lib.  1,  sol. 

E a di  detto  per  12  some  di  rena  a mariotto  del  frascha  contanti  pago 
lui  posto  a libro  c.  171  lib.  -,  sol.  io.” 

[Arch.  Comunale  di  Pistoja  — Opera  di  s.  Giov.  e Zenone,  Giornale  del 
libro  A,  cod.  236,  c.  152.] 


Fig.  124. — Coffering  of  Vault. 


ANDREA  DELLA  ROBBIA 


1 6 1 


2. 

“Die  xxvj  augusti  1505. 

Prefati  etc.  servatis  servandis  etc.  stentiorno  ad  andrea  de  la  rubia  per 
havere  fatto  quello  megio  tondo,  sopra  la  magiore  porta  della  Chiesa  Cate- 
drale,  di  terra  cotta,  ducati  cinquanta  larghi  d’oro  nuovo  etc.  mandarunt. 

Die  dieta. 

Item,  simili  modo  et  forma  etc.  stentiorno  lire  setanta  sol.  sette  piccoli  i 
quali  si  sono  spesi  in  pezi  1900  d’oro  fino  comprato  a firenze  a lire  tre 
soldi  x piccoli  il  cento  et  peza  cinquanta  d'oro  comprato  qui  in  pistoja  a lire 
quattro  soldi  4 piccoli  il  cento  per  mettere  a oro  il  soprascritto  lavoro,  in 
tutto  lire  setanta  soldi  x piccoli  etc.  mandarunt. 

Die  dieta. 

Item,  simili  modo  et  forma  etc.  stentiorno  ad  antonio  da  san  donino 
vetturale  per  la  vectura  di  some  xjx  del  soprascritto  lavoro  di  firenze  qui 
et  per  la  gabella  del  dicto  lavoro  et  la  gabella  de’  1900  pezi  d’oro  fino  di 
firenze  in  tutto  lire  xjx  soldi  octo  piccoli  etc.  mandarunt  etc. 

Die  dieta. 

Item,  simili  modo  et  forma  etc.  stentiorno  lire  quarantadue  piccoli  per  le 
spese  facte  ad  andrea  de  la  rubia,  uno  suo  figlio  et  uno  gargione  et  il  cavallo 
di  xxviij,  cioè  da  di  xxvj  di  luglio  insino  a di  24  d’agosto  presente,  stati 
in  pistoja  per  fare  murare  et  mettere  a oro  il  soprascritto  lavoro  etc. 
mandarunt  etc.” 

[Arch.  Comunale  di  Pistoja  — Opera  di  s.  Giov.  e Zenone,  cod.  227, 
c.  62'.] 

3- 

“A  uscita  de’  denari  per  le  porti  a di  soprascritto  [mercholedi  a di  xxx 
di  luglio  1505]  contanti  fior,  cinque  d'oro  larghi  per  1000  pezi  d’oro  fine 
pago  andrea  dalla  robbia  per  adornare  la  vòlta  lib.  35,  sol.  -. 

E a di  detto  a antonio  di  giovanili  da  san  donnino  per  gexo  e chalcina  e 
vettura  di  detto  gexo  recò  per  la  vòlta  contanti  lib.  v,  sol.  ij,  den.  6 pago  lui 

lib.  5,  sol.  2,  6. 

E a di  detto  sol.  xxij  contanti  sono  per  tanti  si  spese  in  el  charretto  di 
santa  Maria  dell’Umiltà  el  quale  s’achattò  per  portare  via  pietra  essen’è 
auto  marmi  lib.  1,  sol.  2. 

Posto  a libro  c.  171. 

...A  uscita  de’denari  per  la  vòlta  a di  soprascritto  [sabbato  a di  ij 
d’ogosto  1505]  a giovanili  binducci  contanti  sol.  xlv  ebbe  per  ghabella  di 
due  some  della  vòlta  di  terra  chotta  lib.  2,  sol.  5. 

E adi  detto  a giuno  chontanti  f iiij  doro  larghi  pago  lui  per  sue  fatiche 
delle  fighure  depinse  sopra  alle  porta  lib.  28  sol.  -. 

posto  alibro  c 171 

...A  uscita  de’  denari  per  la  vòlta  a di  soprascritto  [lunedi  a di  iiij'’ 


1 62 


ANDREA  DELLA  ROBBIA 


d'ogosto  1505]  a Filippo  di  m.°  marcilo  contanti  sol.  xxx  pago  el  suo  ghar- 
zone.  Posto  a libro  c.  171  lib.  1,  sol.  10. 

. . .A  uscita  di  denari  per  la  vòlta  a di  soprascritto  [giuovidi  a di  vij, 
d'ogosto  1505]  a filippo  di  m.°  marcho  contanti  sol.  xlij  pago  lui  e staio  uno 
di  grano  del  mio  ebbe  el  fratello  per  sol.  xlj  in  tutto  lib.  4,  sol.  3. 

E a di  detto  a andrea  dalla  robbia  per  uno  penello  e libbre  1/2  di  cholla. 
Posto  a libro  c.  171  lib.  -,  sol.  6. 

. . . A uscita  di  denari  per  la  vòlta  a di  soprascritto  [sabbato  a di  viiij.0 
d'ogosto  1505]  a andrea  dalla  robbia  contanti  lib.  xxxv,  sol.  vij  ebbe  lui 
per  noi  da  pietro  lib.  35,  sol.  7. 

E a di  detto  a filippo  di  m.*  marcho  contanti  lib.  iiij.°  sol.  vj  pago  lui  el 
gharzone  lib.  4,  sol.  6. 

E a di  detto  a Maso  di  tovano  per  viij  some  di  rena  a bigongia  contanti 
sol.  7 lib.  -,  sol.  7. 

E a di  detto  a niccolo  zeloni  per  1205  mattoni  chotti  lib.  x,  sol.  xvij  per 
sol.  18  il  cento  lib.  io,  sol.  17, 

E a di  12  detto  a filippo  di  m.°  marcho  contanti  sol.  xx  pago  el  fratello 
e sol.  xxv  pago  el  gharzone  suo  in  tutto  lib.  2,  sol.  5. 

E a di  detto  a giusto  d’antonio  scarpellino  contanti  fior,  tre  d'oro  larghi 

per  noi  da  allexandro  fabroni  lib.  21,  sol.  -. 

E a di  detto  per  uno  manovale  per  portatura  di  300  mattoni  s’ebbeno  di 

chaxa  bernardo  sozifanti  contanti  sol.  ij  den.  8.  pago  lui  lib.  -,  sol.  2,  8. 

Posto  a libro  c.  172. 

. . .A  uscita  di  denari  per  la  vòlta  a di  soprascritto  [sabbato  a di  xvj 
d’ogosto  1505]  contanti  fior,  tre  d'oro  larghi  per  600  pezi  d’oro  fine  chonprò 
pietro  del  benino  per  la  vòlta  lib.  21,  sol.  -. 

E a di  detto  a gherardo  dondoli  per  once  v d'olio  di  linseme  ebbe  da  lui 
andrea  dalla  robbia  lib.  -,  sol.  5. 

E a di  detto  a filippo  di  m."  marcho  contanti  lib.  tre  ebbe  lui  lib.  3,  sol.  -. 

E a di  19  detto  contanti  lib.  x,  sol.  x pago  antonio  di  giovanili  da  san 
donnine  vetturale  per  la  vòlta  cioè  per  300  pezi  d’oro  fine  recò  da  firenze 

lib.  io,  sol.  io. 

E a di  detto  a andrea  dalla  robbia  contanti  lib.  xxv,  sol.  v pago  lui  per 
noi  da  pietro  lib.  25,  sol.  5. 

E a di  detto  per  più  cholori  e fare  portare  le  scagle  in  sul  tetto  contanti 
sol.  xiii  j."  pago  andrea  dalla  robbia  lib.  -,  sol.  14. 

E a di  21  detto  a francesco  centi  contanti  sol.  xlij  per  50  pezi  d’oro 
manchò  lib.  2,  sol.  2. 

Posto  a libro  c.  172. 

. . .A  uscita  di  denari  per  la  vòlta  a di  soprascritto  [giuovidi  a di  xxj 
d’oghosto  1505]  a andrea  di  cino  per  xvij  subielli  s’ebbeno  da  lui  per  fare 
centine  contanti  sol.  xxxxiiij.0  pago  lui  lib.  1,  sol.  4. 


ANDREA  DELLA  ROBBIA  163 

E a di  detto  a niccolò  zeloni  per  subielli  di  braccia  5 1 tuio  contanti  sol. 

lib.  -,  sol. 

Posto  a libro  c.  172. 

. . .A  uscita  di  denari  per  la  vòlta  a di  soprascritto  [venardi  a di  xxij 
detto  1505]  a andrea  dalla  robbia  contanti  lib.  lxij,  sol.  iiij.°  ebbe  per  noi 
da  pietro  del  benino  lib.  62,  sol.  4. 

E a di  detto  a dua  fachini  per  riportare  el  legname  del  ponte  lib.  -,  sol.  6. 

E a di  detto  a filippo  di  m.°  marcho  contanti  lib.  ij  pago  el  figliolo 

lib.  2,  sol.  -. 

E a di  detto  a niccolò  zeloni  per  ischafili  di  chalcina  contanti  lib.  vii j , 
sol.  ij  pago  lui  lib.  8,  sol.  2. 

E a di  detto  a uno  manovale  per  spegnere  chalcina  e rendere  di  quella 
s'acchattò  contanti  sol.  otto 

lib.  -,  sol.  8. 

E a di  detto  a Mariotto  del  frascha  per  some  xxvj  di  rena 

lib.  -,  sol.  17,  4. 

E a di  23  detto  a filippo  di  m.°  marcho  contanti  sol.  1 pago  al  figlio 

lib.  2,  sol.  io. 

E a di  detto  a antonio  di  giovanili  da  san  donnino  per  ghabella  e vettura 
di  19  some  di  terra  chotta  recò  da  fìrenze  contanti  lib.  xliii j .°  sol.  iij  ebbe 
per  noi  da  pietro  del  benino  lib.  44,  sol.  3. 

E a di  detto  a giusto  d’antonio  seharpellino  contanti  lib.  xiiij°  ebbe  per 
noi  da  pietro  lib.  14,  sol.  -. 

Posto  a libro  c.  172. 

. . . A uscita  di  denari  per  la  vòlta  a di  soprascritto  [lunedi  a di  xxv  detto 
1505]  a andrea  dalla  robbia  contanti  lib.  xiij  ebbe  per  noi  da  pietro  del 

benino  per  resto  di  fiorini  50  d'oro  montò  la  vòlta  lib.  13,  sol.  -. 

E a di  detto  a pietro  del  benino  contanti  lib.  xlij  ebbe  per  la  spesa  fece  a 
andrea  soprascritto  e dua  gharzoni  e la  mula  da  di  26  di  luglio  sino  a di 
24  d’ogosto  [1505]  lib.  42.  sol.-. 

Posto  a libro  c.  172. 

. . .A  uscita  di  denari  per  la  vòlta  a di  soprascritto  [giuovidi  a di  xxviij 
detto  1505]  a filippo  di  m.°  marcho  contanti  sol.  xxx  pago  michele  suo 
gharzone  lib.  1.  sol.  io. 

E a di  detto  a Mariotto  del  frascha  per  42  some  di  rena  recò  a san  zelone 
contanti  sol.  xxviij  pago  lui  lib.  1,  sol.  8. 

E a di  detto  a filippo  di  m.°  marcho  contanti  sol.  xliii j ,°  pago  el  figlio 

lib.  2,  sol.  4. 

E a di  30  detto  a filippo  soprascritto  contanti  sol.  xlij  pago  el  figlio  e 
sol.  x pago  michele  in  tutto  lib.  2,  sol.  12. 

E a di  detto  a giusto  d’antonio  scarpellino  contanti  pago  lui  lib.  14,  sol. 

[Arch.  Communale  di  Pistoja  — Opera  di  s.  Giov.  e Zenone,  Giornale  del 
libro  A,  cod.  236,  c.  153.] 


ANDREA  DELLA  ROBBIA 


i 64 
4- 

“Filippo  di  m.°  marcilo  di  detto  de’avere  a di  13  d'ogosto  [1505]  per 
opere  14  di  ni."  [aestro]  cioè  di  lui  e opere  18  di  manovale  aiutorno  a 
andrea  dalla  robbia  aclionciare  la  vòlta  a sol.  22  el  m.°,  e sol.  io  el  m."  [mano- 
vale] montano  lib.  24.  sol.  8. 

E a di  22  detto  per  opere  2 di  m.°  e 2 di  ni.'  aiutò  a choprire  la  vòlta 

lib.  3,  sol.  4. 

E a di  30  detto  per  una  opera  di  m.°  e una  di  m."  aiutò  rimettere  per 
mano  el  porticho  del  duomo  lib.  1,  sol.  12. 

E de’  avere  per  le  5 partite  prime  rinpetto  che  sono  opere  5 di  m.°  e 6 
di  m.e  aiutò  alla  vòlta  lib.  8,  sol.  io. 

[ Aggiunta ] E de’  avere  a di  17  di  dicembre  1506  per  iiij  opere  di  111"  e 
iiij  me (manovale)  certi  legni  mese  a tetto  dettino  di  suo  d’achordo  chon  lui 

lib.  6,  sol.  7. 

[Arch.  Comunale  di  Pistoja  — Opera  di  s.  Giov.  e Zenone,  Libro  A, 
cod.  235,  c.  174.] 

Bibl.  : 

B.  J.,  71-72;  Bacci,  II,  167-185  (Doc.)  ; Car.,  A.  I.  D.  I.,  ¥(1896), 
Tav.  21;  Cr.,  196,  326;  M.,  Sc.  Mag.,  1893,  694;  R-,  D.  R.,  205-206; 
Se.  FI. , III,  176-177;  Repetti,  IV,  438  (Doc.). 

100  MADONNA,  SAINTS  AND  ANGELS.  1507-1508.  Viterbo. 
S.  Maria  della  Quercia.  Three  lunettes.  One,  IL,  1.20m.;  W., 
2.80m.;  the  others,  H.,  0.82m.;  W.,  1.62m.  Photos.,  Alinari,  11847, 
11849,  i 1 8 5 1 ; Moscioni,  4256-4258. 

In  1417  a pious  peasant  of  Viterbo,  for  the  protection  of  bis  vineyards, 
ordered  of  Maestro  Martello,  known  as  Monetto,  an  image  of  the  Madonna. 
This  rude  painting,  executed  on  a roof  tile,  was  suspended  on  an  oak  tree 
by  the  roadside.  It  performed  miracles,  became  the  object  of  worship,  and 
to  it  pilgrimages  were  made.  Its  history  is  preserved  in  a series  of  frescoes 
in  the  Palazzo  Comunale  of  Viterbo.  On  this  site  the  Jesuits  were  per- 
mitted in  1464  to  erect  a church  and  monastery,  hut  their  tenure  was  short 
lived  and  on  September  29,  1469  it  came  into  the  possession  of  the  Domi- 
nicans. It  is  to  the  efforts  of  Fra  Filippo  Strozzi  of  Florence,  who  with 
his  brothers  ruled  the  monastery  in  1507  and  1508,  that  we  owe  the  facade 
of  the  church  and  its  decoration.  The  architectural  design  is  attributed  to 
Giuliano  da  San  Gallo,  hut  the  central  portal  was  executed  by  Bernardino 
di  Giovanni,  a sculptor  of  Viterbo,  and  the  lateral  portals  by  Domenico 
da  Firenzuola,  in  1504  to  1506.  The  three  terra-cotta  lunettes  over  the 


Fig.  125. — S.  Maria  della  Quercia  and  Saints. 


ANDREA  DELLA  ROBBIA 


166 

doors  are  documented  works  of  Andrea  della  Robbia,  made  in  Florence  in 
1507  and  1508. 

1.  The  centrai  lunette  (Fig.  125)  represents  the  Madonna  della  Quercia 
crowned  by  angels  between  S.  Domenico  and  S.  Lorenzo.  The  figures  are 
glazed  white  and  set  against  a blue  sky  with  clouds  in  relief.  Green  is 
used  for  the  oak  tree,  lily  stem  and  palm;  yellow  for  the  clasps  and  studs 
of  the  books,  also  for  the  irises  of  the  eyes;  green  and  blue  and  yellow  for 
the  jewels  of  the  crown. 

S.  Domenico,  patron  saint  of  the  monastery,  carries  a book  and  lily.  His 
hands  are  carefully  modelled.  His  present  head  is  modern  and  forms  a 
discordant  note  in  the  composition.  The  Madonna  is  less  graceful  than 
Andrea’s  Madonnas  at  Prato  (1489)  and  Pistoia  (1505)  and  recalls  some- 
what Giovanni’s  Madonna  of  1497  at  S.  Maria  Novella.  The  Child  stands 
upon  a pedestal,  as  at  Pistoia  ; holds  a bird  as  in  Monetto’s  painting,  and  is 
blessing.  His  sparse  curly  hair  recalls  Giovanni’s  Christ  Child  in  the 
lavabo  at  S.  Maria  Novella.  S.  Lorenzo,  patron  saint  of  Viterbo,  is  less 
charming  than  Andrea’s  representation  of  that  saint  in  the  lunette  of  the 
Prato  Cathedral  (1489),  but  superior  to  Giovanni’s  S.  Lorenzo  in  the 
Tabernacolo  delle  Fondane  (1522).  The  angels  holding  the  jewelled 
crown  lack  the  grace  of  the  angels  in  the  S.  Croce  altarpiece.  They  alone 
wear  haloes,  set  almost  perpendicular  to  the  plane  of  the  relief. 

2.  The  lunette  over  the  door  to  the  left  represents  S.  Pietro  Martire  be- 
tween two  adoring  angels  (Fig.  126).  His  hood  and  mantle  should  be 
conceived  of  as  black  over  the  white  tunic.  He  carries  a book  with  yellow 
fittings  and  a green  palm.  A dagger  is  plunged  into  his  shoulder  and  a 
large  knife  into  his  head.  The  huge  knife  resulted  in  splitting  the  head 
from  the  crown  to  the  neck. 

3.  The  lunette  over  the  door  to  the  right  represents  S.  Tommaso 
d’ Aquino  between  two  adoring  angels  (Fig.  127).  S.  Tommaso  is  rep- 
resented as  the  founder  of  the  order,  holding  in  his  right  hand  a model  of 
a church  or  monastery  and  in  his  left  a book  with  yellow  fittings.  On  his 
breast  is  the  fixed  star  or  sun,  golden  in  colour,  one  ray  pointing  to  the 
model  of  a church. 

Documents:  [Revised  by  Mr.  Rufus  G.  Mather.] 

1.  “MDVIJ  adj  30  giugnio 


e addj  xviii  detto  (settembre)  ducati 


ANDREA  DELLA  ROBBIA 


167 


Fig.  126. — S.  Pietro  Martire  and  Angels. 


Fig.  127. — S.  Tommaso  d’Aquino  and  Angels. 


quatro  et  mezzo  a gianpiero  scharpellino 

sopradetto  portò  gli  Valerio  oliarci 

et  sono  pel  resto  dell’arme  di  papa 

lulio  si  misse  nella  facciata  della  chiesa  - d.  4.37.10" 

[Archivio  di  S.  M.  della  Quercia,  Viterbo,  Libro  di  Entrata  e Uscita 
della  Fabbrica,  segnato  Cod.  116  c.  65.] 

2.  “+yhs  1507  — 


e adj  decto  (23  novembre)  ducati  dieci 


ANDREA  DELLA  ROBBIA 


168 

a Andrea  della  robia  porto  contantj 
per  arra  dj  tre  archettj  sopra  le 
porte  della  chiesa  di  terra  cocta  in- 
vetriata chome  appare  per  una  scripta 
dj  sua  mano  equalj  tre  archettj  montorno 
ducat j io  dj  charlinj  in  firenze  — d. 

[Idem,  idem,  c.  66'.] 

3.  “Jesus  1508 — 


e adj  decto  ( 7 giugnio)  ducati  diecj  ad 

andrea  della  robia  per  parte  di  suo 

cottimo  dj  tre  mezi  tondj  sopra  le  portj 

della  chiesa  et  per  noi  dal  bancho  de  chigj 

per  una  lettera  di  chambio  facta  a girolami 

in  firenze  presentj  fratj  ambrosio  suo  figluolo  — d io 


e addj  iij  di  luglio  carlinj  cinquantaquatro 
a domenicho  vecturale  per  meta  dela  vectura 
dj  some  tre  di  tre  Jd  (mezzo)  tondi  di  terra  cocta 
per  di  sopra  le  tre  portj  della  chiesa  venute 
da  firenze  da  Andrea  della  robia  porto 
fratj  ambrosio 

[Idem,  idem,  c.  69.] 

4.  — “+yhsi5o8  — 

addj  xiiij  dottobre  1508  fu  alloghato  a 
bernardino  di  giovanili  et  a diario  dj 
mariotto  et  a domenicho  di  jachopo  da 
firenzuola  tutti  scharpellinj  la  facciata 
della  chiesa  chol  suo  frontone  per  prezo 
di  ducati  quatrocentoquaranta  di  charlini 
in  tutto” 

[Idem,  idem,  c.  1 68'. ] 

5- 

“1508  novembre  1 Bernardino  di  Giovanni 
da  Viterbo  Carlo  dj  mariotto  et  domenicho 
di  jachopo  da  firenzuola  tutti  scharpellini 
deono  dare  adi  primo  di  novembre  1 508  duc- 
ati settanta  et  boi  xviij  dj  15  ebbe  Charlo 
et  domenicho  sopradetti  per  parte  del  chottimo 


ANDREA  DELLA  ROBBIA 


169 


della  facciata  et  frontone  chome  si  vede  in  questo 
168  et  ecene(  ?)  scripta  di  mano  di  detto  bernar- 
dino   — — d 70  b 18  dj  15.” 

[Idem,  idem,  c.  96'.] 

6.  “+  Jesus  1 508 

Mariano  chigi  a còp“( compagnia)  dicòtro(di  viterbo) 
deono  havere  adj  di  magio 


e adj  decto(7  giugnio)  d(ucati)  dieci  di  c’  (charlini) 

paghatj  p(er)  noi  ad  andrea  della  robia  p(er)  una 

lett“( lettera)  a girolami  I firèze  p(er)  còto  delle  tre 

mezitòdi  diterachotta  sop(r)a  le  tre  po(r)tj  della  chiesa  — d io — ” 

[Archiv.  idem,  Libro  Deb.  & Cred.  1495-15 17,  segnato  Cod.  139  c.  — ] 

7- 

“Memorie  delli  miglioramenti  fatti  ì nella  chiesa  et 
còvento  di  Scà  Maria  della  Quercia  eh  (e)  fu  dato  alla 
cògregat"6  (congregatane)  chiamata  di  Scò  Marco 
cioè  nel  1496  p(er)  sino  al  p( re) sente  ano  1519 


Item  le  figure  liquali  suno  di  sopr  le  tre 
portj  della  chiesa  eh  (e)  sono  di  piet"  cocta 
e vennono  da  fìrenze” 

[Archiv.  idem,  Cronaca  1506-1845  c.  1 1 — no/segnatura.] 

Bibl.  : 

B.,  Denk.,  87,  Taf.  273;  Buri.,  1 19  ; Cahier,  Car.  ties  Saints,  I,  98,  390, 
note  4;  C-M.,  257-258,  Nos.  340-342;  Cr.,  196-197,  331;  Erculei, 
162  (Doc.)  ; Ferretti,  III.  Fior.,  1905,  126-130  (Doc.)  ; Guerin,  Vies 
des  Saints,  III,  247;  Fov.,  1 1 5 ; M.,  Sc.  Mag.,  1893,  683,  697;  R.  H., 
163-165;  Mortier,  84-88,  1 54-155;  Pinzi,  A.  S.  A.,  Ill  (1890),  300- 
332  (Doc.);  Guida,  160-161;  R.,  D.  R.,  210;  Sc.  FI.,  Ill,  177-179; 
V.,  VI,  584. 


ANDREA  DELLA  ROBBIA 
1510-1525 


ANDREA  DELLA  ROBBIA 


iSio-1525 

101  GIOVANNI  BATTISTA  ALMADIANO.  1510.  Viterbo.  Museo 
Comunale.  Bust.  Photos.,  Alinari,  11840;  Moscioni,  3473. 

This  fine  bust  of  Almadiano  (Fig.  128),  proto-notary  and  private  chap- 
lain to  Leo  X,  was  formerly  in  the  church  of  S.  Giovanni  dei  Fiorentini, 


Fig.  128. — Bust  of  Almadiano. 


Viterbo.  It  was  set  above  a doorway,  to  the  left  of  the  altar  accompanied 
by  the  inscription  : 

OVEM  STRVIS  IN  TERRIS 
BAPTISTA  JOANNES  EXTRVET 
IN  COELIS  ALMADIANE  TIBI 


According  to  the  registers  of  the  church  it  was  paid  for  on  February  7. 
1510.  It  exhibits  the  same  sense  of  portraiture  seen  in  the  busts  of  the 
S.  Paolo  Hospital,  and  like  them  was  left  unglazecl.  It  was  many  times 


174 


ANDREA  DELLA  ROBBIA 


painted  and  in  recent  times  thoroughly  cleaned.  It  now  rests  on  a wooden 
base  inscribed  : 

A IO(hannes)  A BAP(tistes)  A ALMADIANVSA  MAD  XA 

Document:  [Quoted  from  Gentile,  in  A.  S.  A.,  II  (1889),  41 1,  note  1. 

Venturi  considers  the  document  fictitious.] 

“11  Ottobre  1509  ad  Andrea  de’Robbia  per  le  figure  sopra  la  porta  ducati 
sedici.  7 Febraio  1510.  per  il  busto  pagati  per  conto  Almadiano  del  banco 
Chigi  ducati  sette.” 

Bibl.  : 

Cr.,  197-198,  310  (Doc.),  327;  D.  D.,  30;  Gentili,  A.  S.  A.,  II, 

(1889),  410-411  (Doc.)  ; Guasti,  Cafaggiolo,  156;  R.,  D.  R.,  209-210; 

Nc.  FI,  III,  177-179;  S.,  122,  Abb.  135;  V.,  VI,  584. 


Fig.  129. — De  Nobile  Stemma. 


ANDREA  DELLA  ROBBIA 


i/5 


102  STEMMA  OF  UBERTO  DI  FRANCESCO  DE  NOBILI.  1511. 

Arezzo,  Palazzo  Comunale,  Inside.  Photo.,  Private. 

Within  a rectangular  frame  consisting  of  an  egg  and  dart  between  fillet 
mouldings  is  a tournament  shield  (Fig.  129)  bearing  the  arma  moderna 
of  the  de  Nobili  family:  Azure,  a bend  of  France  (semé  of  lilies  or) 
fimbriated  argent.  The  shield  is  surmounted  by  a helmet  with  torse  and 
mantlings  and  crested  with  a demi-lion  rampant. 

Below,  a charming  cherub  bears  a curved  scroll  inscribed  : 

VBERTO  ♦ DI 
FRANCESCO  + 

DVBERTO  ♦ DENO 

BILI  ♦ P(ODEST) A ♦ E COM(MISSARI)0  4 1510  E 1511 

Uberto  di  Francesco  de’Nobili  had  been  a Prior  in  Florence  in  1497 
and  1501. 

Bibl.  : 

C,  s.v.  Nobili;  M.,  R.  H.,  190,  Fig.  178;  P.,  481-483;  W.,  159. 

103  CRUCIFIXION  AND  SAINTS.  Fiesole.  S.  Maria  Primerana. 

Round-headed  altarpiece.  LL,  2.62m.;  W.,  1.68m.  Photos.,  Alinari, 

No.  3271  ; Brogi,  No.  9864. 

This  altarpiece  (Fig.  130)  appears  to  belong  to  the  period  of  the  Bib- 
biena altarpieces  (15 13-1520).  This  is  indicated  by  the  concave  back- 
ground, the  heavy  proportions  of  all  the  figures,  the  advanced  knowledge 
of  anatomy  displayed  in  the  torso  of  the  crucified  Christ,  the  relief  of  the 
clouds,  the  expressive  character  of  the  skull  beneath  the  cross.  The  facial 
types  of  the  Christ,  the  Madonna,  the  S.  Maria  Maddalena  and  S.  Gio- 
vanni Evangelista  are  Andrea’s,  and  the  inscription:  + INRI  + above  the 
cross  shows  letters  of  the  same  form  as  those  at  La  Verna.  We  can  hardly 
hold  him  personally  responsible  for  the  spelling  of  the  inscription  on  the 
predella  (not  shown  in  the  photograph)  : O VOS  OMNES  QVI 

TRANSITIS  P(ER)  VIAN  ATENDITE  E VIDETTE  SI  ~ES 
DOLOR  SICVT  DOLOR  MEVM  4 

Bibl.  : 

B.  J.,  70-71  ; B.,  Kf.,  24;  Carocci,  Dint.,  I,  137;  C-M.,  232  No.  174; 

Cr.,  343;  R.,  D.  R.,  217-218;  Sc.  FI.,  Ill,  181,  183;  Vas.,  II,  194. 


i;6  ANDREA  DELLA  ROBBIA 

104  LAMENTATION  OVER  THE  DEAD  BODY  OF  CHRIST. 
London.  Victoria  and  Albert  Museum,  No.  4C>9-’89.  Statues.  H., 
c.  0.90m.  Photo.,  Private. 

Lamentations,  like  Adorations,  occur  logically  in  the  works  of  Andrea, 
though  more  common  in  that  of  his  successors.  The  influence  of  Savon- 


Fig.  130. — Crucifixion 


and  Saints. 


ANDREA  DELLA  ROBBIA 


1 77 


arola  and  the  Piagnoni  was  doubtless  shown  in  the  multiplication  of  tragic 
religious  subjects.  Rarely  was  an  actual  Entombment  represented,  as  in 
the  predella  of  the  Cintola  altarpiece  at  S.  Eiora.  Lamentation  over  the 
Crucified  One  were  more  frequent,  as  in  the  altarpiece  at  S.  Maria  Prima- 
vera, Fiesole.  Lamentations  over  the  Body  of  Christ  extended  in  the 
Virgin’s  lap  are  most  common,  especially  in  Giovanni's  atelier.  Here  is 
another  composition,  a Lamentation  over  the  Body  of  Christ  extended  on 
the  ground  (Fig.  131).  Giovanni  signed  a lunette  of  this  subject  in  1521, 


Fig.  13 i . — Lamentation  Over  Dead  Christ. 


but  this  London  group  is  closer  in  its  types  to  the  Bibbiena  altarpiece,  to 
which  it  seems  to  be  closely  related. 

These  statues  are  only  partially  glazed.  S.  Giovanni’s  robe  is  glazed 
blue,  and  the  lining  of  his  mantle  yellow;  the  loin  cloth  of  Christ  is  white; 
the  Madonna’s  mantle  is  blue  lined  green,  her  neckerchief  is  white;  all  the 
rest  is  unglazed,  including  the  entire  figure  of  La  Maddalena. 

It  was  acquired  in  Siena  in  1869. 


Bibl.  : 

Cr.,  345;  142  Abb.  156. 


i78  ANDREA  DELLA  ROBBIA 

105  THE  RESURRECTION,  ALSO  FRAME  FOR  PAINTING. 
i5i7-i5i8.  Florence.  S.  Frediano,  Cappella  della  Compagnia  di  S. 
Frediano.  Lunette  (missing). 

The  Cappella  della  Compagnia  di  S.  Frediano  is  described  in  the  docu- 
ments as  the  last  chapel  on  the  right  in  the  church  of  S.  Frediano,  and  as 
opposite  the  Cappella  di  S.  Lorenzo.  According  to  Ridia  (IX,  177)  the 
latter  was  founded  in  1490.  The  Cappella  di  S.  Frediano  was  probably 
founded  at  the  same  time,  and  as  we  have  already  noted,  was  decorated 
with  a Robbia  frieze  of  cherub  heads  in  1494-1502.  Its  altarpiece  as  we 
gather  from  Richa  and  Rosselli,  represented  a Pietà.  Ridia  adds  that  it 
included  as  lateral  saints,  S.  Girolamo  and  S.  Frediano;  and  was  painted 
by  Ghirlandaio.  From  the  documents  and  from  Rosselli  we  gather  that 
it  was  set  in  a Robbia  frame  with  architrave,  frieze  and  cornice;  the  frieze 
being  decorated  with  cherub  heads.  Arcangelo  di  Jacopo  a painter  and 
Niccolò  del  Tatta  a goldsmith  were  employed  to  do  the  necessary  gilding. 
Rosselli  says  of  it  “Passata  il  Pulpito  segne  un  altare  con  Tavola  antica 
della  Pietà  e con  ornamenti  di  terra-cotta  della  maniera  di  Luca  della 
Robbia — vi  e il  segno  della  compagnia  di  S.  Friano — Croce  e Lettere 
rosse  in  azz.”  This  emblem  he  depicts  in  the  margin.  The  documents  im- 
ply also  that  there  was  an  inscription  and  seem  to  distinguish  between  the 
cherubs  of  this  frame  and  those  of  the  frieze  of  the  chapel  “che  furono  fatti 
e pagati  per  altro  tempo.” 

It  is  probable  that  the  emblem  of  the  compagnia  was  placed  at  either  end 
of  the  predella  and  that  the  centre  contained  the  inscription  : O VOS 
OMNES  OVI  TRANSITIS  VIAM  ATTENDITE  ET  VIDETE  SI  EST 
DOLOR  SICUT  DOLOR  MEVS. 

The  form  of  the  relief  noted  by  Richa  was  probably  a lunette,  as  is  indi- 
cated by  its  position  “sotto  l’arco  della  cappella  (Doc.  No.  hi).”  It  is 
further  defined  by  Bocchi-Cinelli  as  above  an  altar  and  framed  by  many 
beautiful  seraphim.  Its  subject  is  indicated  in  the  Documents  and  by  Richa 
as  a Resurrection  and  its  author  Andrea  della  Robbia.  His  treatment  of 
this  theme  is  familiar  to  us  from  the  altarpiece  at  Aquila,  and  from  the 
relief  in  the  hallway  of  the  Accademia,  Florence. 

In  1827  von  Rumohr  records  cherub  heads  and  other  fragments  as  in 
the  Casa  Mozzi,  Florence.  In  1855  Barbet  de  Jouy  specifies  as  in  the 
cortile  of  the  Casa  Mozzi  (later  Bardini),  four  angels,  fifteen  heads  of 
seraphs,  and  four  sleeping  guards  which  seem  to  have  formed  part  of  a 
Resurrection  relief.  These,  Milanesi  in  1878  identified,  probably  correctly, 
as  from  the  Cappella  di  S.  Frediano.  Their  whereabouts  now  is  unknown. 


ANDREA  DELLA  ROBBIA 


179 


Documents:  [Copied  by  Mr.  Rufus  G.  Mather.] 

1. 

yhs  m(aria)  MDXVIJ 
Gino  chaponj  n°  k°  di  chontro  de  avere 


addi  6 di  mago  lxxij 1 22  s- 

E addi  6 di  settenbre 1 60 


E addi  6 detto  1 8 e 1 5.  14  andrea 
dela  Robia  in  2 partite  in  questo 

a c 201  1 13  s 14 


E addi  26  di  novenbre  1518  lvj  1 6 s- 

E addi  ....  detto  Ivi  j s x andrea 
della  Robbia  sino  adi  18  in  questo 

a c 201  1 6 s io” 

[Archiv.  di  Stato.  Compagnia  di  San  Frediano.  Libro  Debitori  e 
Creditori,  anni  1467  al  152 2,  segnato  No.  112,  c.  clxxxxvj.] 

2. 

“E  de  dare  1 cinquantanove  s x dj  iii  j 
picciolj  pachati  andrea  dellarobbia 
In  piu  volte  sono  per  una  Resurressione 
di  terra  cotta  fatta  sotto  larcho  di 
detta  chapella  per  adornamento  fatto 
fare  e sindachj  accio  deputati  posto 
andr"  della  robia  avere  per  dette 
fichure  In  questo  a c 201” 

[Idem,  c.  1 1 2.] 

3- 

a.  c.  201 

yhs  m(aria)  MDXVIIJ 
Andrea  di  ...  .della  Robbia  de  dare 
sino  addi  28  settenbre  1518  1 otto  porto 
nicholo  martellinj  contanti  disse  per 
arra  della  Resurezione  fatta  sotto 
larco  della  Chapella  di  s°  fidano 
nostra  in  chiesa  s°  fidano  et  In  questo 
non  sono  e cherubini  che  furono 
fattj  e pachatj  per  altro  tempo  dison 
per  arra  a uscita  di  Gino  Caponi 


1 59  s io  dj  4 
a.  c.  ccj 

“-f-  yhs  m(aria)  MDXVIIJ 
Andrea  della  Robbia  de  avere 
1 cinquanta  nove  s x dj  iii j picciolj 
se  gli  fano  buonj  per  piu  lavoro  di 
terra  cotta  per  una  Resuressione 
fatta  per  adornamento  della  nostra 
capella  a s°  frediano  lultima  a 
manritta  in  detta  chiesa  posto 
dare  In  questo  a c 112 

1 59  s io  dj  4” 


i8o  ANDREA  DELLA  ROBBIA 

n°  k°  a c 183  avere  In  questo  a c 196  18  s- 
E addi  6 detto  1 cinque  s xiiij  porto 
nicholo  martellinj  de  avere  detta 
c 184  avere  In  questo  aciqó  I5S14 
E addi  18  di  novenbre  1518  1 sette 
s x porto  nicholo  martellinj  contanti  a 
uscita  di  Gino  Capon j n°  k°  a c 184 
In  questo  a c 196  1 7 s io 

E addi  30  daprile  1519  1 xxviij  porto 
contanti  chome  disse  nicholo  martel- 
linj e fatti  buonj  a detto  nicholo 
dise  1-  adi  31  di  dicèbre  1518  e 1-  adi 
22  di  genaio  1518  chome  a uscita 
dant°  di  neri  biccj  k°  a c 186 
avere  In  questo  a c 203  1 28  s— 

E addi  detto  lx  s vj  dj  iiij  porto 
e disse  avere  pachatj  nicholo  martellinj 
sindacho  a detto  andrea  e a altri  per  luj 
per  piu  cag(i)one  schritte  di  neri  biccj 
k°  a uscita  a c 186  posto  avere  In  questo 
a c 203  1 io  s 6.4 

1 59.10.4” 

[Idem,  c.  201,  ccj . ] 

4- 

yhs  m(aria)  MDXVIIJ 
Ant°  di  neri  biccj  n°  cam0  fatto  per 
nic°  scharlattj  de  avere  addi  6 di 
dicenbre  1518  1 sei  per  noi  a Rede  di 
Lo  (Lorenzo)  fornaio  dare  in  questo  a c 202 


E addi  30  daprile  1519  1 iiij  a spese  di  conp(agnia) 
in  questo  a c 197 

E addi  detto  1 xxviij  a andrea  dellarobia 
in  questo  a c 201 

E addi  detto  1 x s vj  dj  iiij  a andrea 
della  Robbia  in  questo  a c 201 
[Idem,  c.  cciij.] 

5- 

[Idem,  c.  ecxxj.] 

Nicholo  di  maestro  lorenzo  Martelinj  uno 


16 

14 

1 28 

1 io  s 6 .4” 


ANDREA  DELLA  ROBBIA 


1 81 


<le  sindachi  della  Conp"  de  avere  perinsino  addi  18  di  maggio  1519 

1 quindici  s xiiij  piciolj 

pachatj  per  la  chapella  nostra  murata  In 

sanfriano  e per  luj  antonio  di  nicholo  deltatta 

battiloro  per  pezzi  450  doro  messj  per  mettere 

doro  agliarchitravj  e cherubini  posto  chapella  dare 

In  questo  a c 112  1 15  ; 

E addi  detto  1 otto  s iij  dj  iiij  piccholj  pachatj 

appiu  persone  dipintore  per  mettere  doro  scharpelinj  fabro 

legnaiuolo posto  dare  In  questo  a c 112  1 8 s_ 

| Idem,  a c.  ccxxj.] 

6. 

“+  Mdj 

E de  dare  adi  primo  di  settembre  1520 
1 settanta  s x picciolj  fattj  buonj  a archangelo 
di  jacopo  dipintore  posto  avere  In  questo  a 
c 214  sono  per  ornamento  fatto  nella 

tavola  dellaltare  di  detta  chapella  etc 1 70  s 


E de  dare  1 trenta  cinque  s vi  j piccholj 
fatti  buonj  a 3 opera j avere  In  questo 
a c 213  sono  per  pezzi  1010  doro  a 1 3 
s io  il  cento  per  dorare  e cherubini  e 

adornamento  della  tavola  dellaltare  1 ^5  s 

E de  dare  1 xv  s xiiij  picciolj  per  tanti 
disse  avere  pachati  nicholo  martellili 
a antonio  di  nicholo  deltatta  battiloro 
per  pezzi  450  doro  autj  dall u i a 1 3 s io 
il  cento  per  mettere  nellarchitrave  e 
cherubini  di  terra  della  robbia  a detto 
altare  sino  a di  18  di  maggio  1519 
posto  nicholo  avere  In  questo  a c 221 
E addi  detto  1 otto  s 3 dj  4 piccioli 
sono  per  piu  spese  parliate  per  detta 
capella  al  dipintore  che  messe  doro 
al  chornicione  e cherubini  sopradetti 
di  per  mettere  2 puleggi  e alfabo 
etc....  posto  nicholo  avere  In  questo  a c 221 
[Idem,  c.  1 12.] 


1 15  s 


18  S3 


I dj  4" 

C.  112 
IO 

7 

14 

dj  4” 


182 


ANDREA  DELLA  ROBBIA 


Bibl.  : 

B.  J.,  97;  B.,  Kf.,  24;  Bocchi-Cinelli,  162;  C-M.,  106,  215  No.  56;  Or., 
199-200;  Fov.,  1 1 5 ; R.,  D.  R.,  150;  Sc.  FI,  III,  147;  Ridia,  IX,  177; 
von  Rumohr,  II,  295  note;  Vas.,  II  180-181  note  4,  192. 


i 


617  Robbia.  — Marqnand,  A.  Andrea  della 
Robbia  and  his  atelier.  2 Bde.  Prince- 
ton 1922.  Mit  303  Abb.  4to.  OHLwd.  480,— 
Band  1 enthalt  das  beschreibende 
Verzeichnis  dèr  Bildwerke  Andrea 
della  Robbias,  Band  2 das  Ver- 
zeichnis der  Werkstattarbeiten. 
Erschienen  als  Princeton  Mono- 
graphs in  art  and  archaeology,  Bd 
11.  Harvard  list,  p.  185. 


Bri  n - 


